FIELD  MUSEUM  OF  NATURAL  HISTORY. 

PUBLICATION   152. 
ANTHROPOLOGICAL  SERIES.  VOL.  VII,  No.  4. 


ANTIQUITIES   FROM   BOSCOREALE 

IN   FIELD   MUSEUM  OF 

NATURAL  HISTORY. 


BY 

HERBERT  F.   DE  Cou 


With  Preface  and  Catalogue  of  Iron  Implements 

BY 

F.  B.  TARBELL 

Professor  of  Classical  Archaeology,  University  of  Chicago 


GEORGE  A.  DORSEY 
Curator  of  Department 


CHICAGO,  U.  S.  A. 
January,  1912. 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 

PUBLICATION  152. 
ANTHROPOLOGICAL  SERIES.  VOL.  VII,  No.  4. 


ANTIQUITIES   FROM   BOSCOREALE 

IN   FIELD   MUSEUM  OF 

NATURAL  HISTORY. 


BY 

HERBERT  F.  DE  Cou 


With  Preface  and  Catalogue  of  Iron  Implements 
BY 

F.  B.  TARBELL 

Professor  of  Classical  Archaeology,  University  of  Chicago 


GEORGE  A.  DORSEY 
Curator  of  Department 


CHICAGO,  U.  S.  A. 
January,  1912. 


140123  CHICAGO  (Field  Mus.  of  natural  hist.).'  -'DC  Cou,  H.F:  Antiquities  from  Bosco- 
reale  in  Field  Museum  of  nat.  hist.  Pref.  and  cat.  of  impl.  by  F.  B.  Tarbell   1912 
S.  145-2 10,  Taf.  1 18-166  (=Field  Mus.  of  natural  hist.,  publ.  152,  anthropol 
ser.  7:4)br.  ... 


THE  GETTY  CENTER 
LIBRARY 


PREFACE. 

This  catalogue,  begun  in  1908,  was  completed  by  the  end  of  the 
summer  of  1909  and  was  then  delivered  to  the  Museum.  The  author 
did  not  live  to  superintend  its  publication.  He  was  assassinated  by 
Arabs  at  Cyrene,  in  Northern  Africa,  on  March  n,  1911,  while  engaged 
in  the  work  of  the  American  excavation  on  that  site. 

I  have  gladly  accepted  the  invitation  of  the  Trustees  of  the  Museum 
to  see  the  manuscript  through  the  press.  The  task  has  been  an  easy 
one,  for  Mr.  De  Cou  was  an  extraordinarily  careful  workman.  The 
few  slight  changes  which  I  have  ventured  to  make  in  his  text  affect 
nothing  essential. 

Inasmuch  as  Mr.  De  Cou  did  not  have  his  attention  called  to  the 
iron  implements  from  Boscoreale  in  the  Museum,  I  have  been  requested 
to  catalogue  these.  For  this  brief  addition  I  am  therefore  alone  re- 
sponsible. 

F.  B.  TARBELL. 


145 


FINDING  LIST. 


Accession 
Numbers. 

24356  • 

24357  • 

24403  . 

24404  . 

24405  • 

24406  . 

24407  . 

24408  . 

24409  . 

24410  . 

24581  . 

24582  . 

24646  . 

24647  . 

24648  . 

24649  . 

24650  . 

24651  . 

24652  . 

24653  • 

24654  • 

24655  • 

24656  . 

24657  • 

24658  . 


Pages. 

Accessio 

Numbers 

I8S 

24659 

185 

24661 

195 

24668 

I83- 

24669 

IQI 

24670 

189 

24671 

182 

24672 

189 

24673 

192 

26150 

I87 

26I5I 

201 

26152 

200 

26153 

170 

26154 

169 

26155 

171 

26156 

I7O 

26157 

166 

26158 

158 

26159 

163 

26160 

162 

26l6l 

167 

26l62 

164 

26163 

1  60 

26164 

157 

31699 

171 

31726 

Pages. 


197 
203 
205 

174 
I76 

177 
211 
211 
211 
211 
211 
211 
211 
211 
211 
211 
212 
212 
212 
212 
212 
209 
208 


147 


INTRODUCTION. 

The  objects  which  are  described  in  the  following  pages l  were  exca- 
vated at  or  near  Boscoreale  at  the  foot  of  Mount  Vesuvius.2  Most  of 
them  were  found  in  the  villa  from  which  came  the  celebrated  Treasure, 
part  of  which  is  now  in  the  Louvre,  some  in  the  excavations  of  1894-6, 
others  in  1898.  One  piece3  is  very  probably  from  a  villa  in  the  Piazza 
del  Mercato  of  the  village  of  Boscoreale,  excavated  in  1897-8;  six 
pieces,  which  entered  the  Museum  in  I9O3,4  are  from  another  villa^in 
the  same  neighborhood. 

The  small  but  fertile  plain  of  the  Sarnus,  which  lay  on  the  Gulf  of 
Cumae  —  the  modern  Bay  of  Naples  —  between  the  Sorrentine  pen- 
insula on  the  south  and  Vesuvius  on  the  north,  and  extended  back  in 
a  north-easterly  direction  to  the  foot-hills  of  the  Apennines,  was  ancient- 
ly, as  now,  highly  cultivated  and  thickly  peopled.  Besides  the  towns 
of  Nuceria  in  the  south-eastern  part  of  the  plain,  Stabiae,  now  Cas- 
tellammare,  in  the  south-west,  and  Pompeii  in  the  north-west  at  the 
mouth  of  the  river,  there  were  here,  as  in  the  entire  region  about  the 
bay,  numerous  country-houses  and  estates  belonging  to  wealthy 
Romans.  Many  of  these  villas,  as  they  were  called,  were  situated  on 
the  slopes  of  the  mountains,  particularly  the  Mons  Lactarius  above 
Stabiae  and  Vesuvius  opposite. 

For  over  eighteen  hundred  years  habitation  in  the  neighborhood 
of  Vesuvius  has  been  largely  dependent  on  the  caprices  of  that  volcano, 
the  outbursts  of  which  have  destroyed  or  devastated  time  after  time 
the  towns  at  its  base.  In  earlier  days,  however,  this  was  not  the  case. 
The  geographer  Strabo,  who  flourished  in  the  reign  of  Augustus,  de- 
scribes it6  as  covered  with  beautiful  fields,  except  at  the  top,  which, 
though  level  for  the  most  part,  looked  as  if  it  had  at  some  time  been 
burned  by  subterraneous  fires.  The  architect  Vitruvius,  who  lived 

1  I  am  indebted  to  Professor  F.  B.  Tarbell,  who  read  portions  of  the  manuscript,  for  many  helpful 
suggestions;  to  Professor  F.  W.  Kelsey  and  the  Macmillan  Company  for  kindly  permitting  the  repro- 
duction of  the  plan  of  the  Villa  Rustica  at  Boscoreale  and  furnishing  the  electrotype;  to  Assistant 
Curators  Simms,  Owen  and  Nichols  of  Field  Museum  of  Natural  History  and  Mr.  Edward  E.  Ayer  for 
information  courteously  given,  and  to  my  brother,  Louis  De  Cou,  for  drawings. 

2  The  collection  was  bought  by  Mr.  Edward  E.  Ayer,  and  presented  to  Field  Museum  of  Natural 
History  by  Mr.  Ayer,  Mr.  H.  H.  Porter,  Mr.  D.  H.  Burnham  and  Mr.  Charles  Singer. 

'  No.  24658. 
<  Xos.  24668-24673. 

©{This  villa  is  not  included  in  the  list  on  p.  154.    F.  B.  T.I 
«  V.  4,  p.  247. 

149 


150  INTRODUCTION. 

about  the  same  date,  mentions1  a  vague  tradition  of  ancient  eruption, 
but  there  is  no  authentic  record  of  any  such  event.2 

This  long  period  of  repose  came  to  a  sudden  end  the  24th  of  August 
of  the  year  79  A.  D.  Early  in  the  morning  of  that  day  the  apparently 
extinct  volcano,  after  several  premonitory  shocks  of  earthquake,  sent 
up  an  immense  cloud,  like  an  umbrella-pine  in  form,  which  overshadowed 
the  surrounding  country  and  drove  the  terrified  inhabitants  to  flight.3 
Only  those  who  left  the  vicinity  immediately  were  saved,  for  in  the 
afternoon  and  the  following  night  and  during  part  of  the  succeeding  day 
there  fell  from  the  cloud  a  dense  shower  of  pumice-stones  (lapilli)  and 
fine  volcanic  ashes  which  covered  the  entire  plain  of  the  Sarnus,  includ- 
ing Pompeii  and  Stabiae,  to  a  depth  of  from  10  to  40  feet.  At  the  same 
time  Herculaneum,  a  small  but  wealthy  seaside  resort  on  the  west  side 
of  the  mountain,  was  buried  beneath  torrents  of  ashes  and  mud,  which 
subsequently  hardened  into  a  solid  mass  from  70  to  100  feet  in  thickness. 

The  ruin  which  this  visitation  brought  upon  these  cities  was  com- 
plete and  irremediable.  Though  Pompeii  and  Stabiae  were  not  so 
deeply  buried  as  to  preclude  quite  extensive  excavation  on  the  part  of 
contemporaries  for  objects  of  value,  they  could  not  again  be  inhabited, 
while  the  sites  more  immediately  adjacent  to  the  mountain  lay  so  far 
beneath  the  newly  formed  surface  of  the  ground  that  they  were  left 
undisturbed  throughout  antiquity.  They  accordingly  have  preserved 
for  us  even  more  completely  than  Pompeii  the  appurtenances  of  their 
civilization  and  the  exact  conditions  in  which  the  catastrophe  found 
them. 

The  exploration  of  these  buried  cities  and  the  recovery  of  the  culture 
which  they  represented  have  been  pursued  intermittently  since  the  year 
1711,  and  now,  after  the  lapse  of  nearly  two  centuries,  may  be  said  to 
be  about  half  completed.  A  large  part  of  the  enormous  collections  in 
the  museum  at  Naples,  including  nearly  all  of  the  wall-paintings  and 
bronzes,  came  from  these  sites,  and  though  for  a  long  time  the  excava- 
tions have  been  conducted  on  a  rather  small  scale,  new  finds  of  impor- 
tance are  frequently  made. 

The  most  interesting  discoveries  of  recent  years  have  been  made 
near  the  above  mentioned  village  of  Boscoreale,  about  one  and  a  half 
miles  north  of  Pompeii.  Here  a  number  of  sumptuous  farm-dwellings 
(villa  rusticatf*  were  brought  to  light. 

»  II.  vi  2. 

1  Cf .  the  unrecorded  eruption  of  the  Alban  Mountain,  probably  subsequent  to  the  first  part  of  the 
Iron  Age  (circa  1000  B.  C.),  M.  S.  De  Rossi,  Bull,  dell'  Inst.  1883,  pp.  4  ff..  Bull,  di  Paletnologia  Ital. 
I  (1875),  PP.  186  ff.,  ix  (1883),  pp.  79  ff. 

1  For  an  account  of  this  first  recorded  eruption  we  are  indebted  to  two  letters  of  the  younger  Pliny 
(VI.,  xvi,  xx),  who  viewed  it  from  the  promontory  of  Misenum,  about  fifteen  miles  distant. 

4  On  the  type  cf.  Rostowzew,  Jahrbuch  d.  kais.  deutschen  arch&oloe..  Inst.  xix  (1904),  p.  124,  n.  50. 


INTRODUCTION.  151 

The  first,  which  was  also  the  richest  in  finds,  was  discovered  in 
1876.  At  that  time  only  a  beginning  of  excavation  was  made.  The 
work  was  resumed  and  completed  in  1894-1896  and  1898  by  the  proprie- 
tor, Vincenzo  De  Frisco.  This  villa  was  a  rectangular  establishment, 
about  80  x  130  feet  in  size,1  consisting  of  a  lower  story  which  contained 
living  rooms  and  bath  and  quarters  for  making  and  storing  wine  and 
olive  oil,  and  a  smaller  upper  story,  which  was  probably  devoted  mainly 
to  sleeping-rooms.  The  arrangement  of  the  lower  story  is  exhibited  in 
the  Plan,  plate  CXIX.  The  entrance  on  the  south,  or  more  accurately 
the  south-west,  side  led  to  an  open  court  (A)  which  was  bordered  on 
the  north  and  west  by  a  colonnade,  above  which  were  the  rooms  of  the 
second  story.  The  rooms  on  the  west  consist  of  a  kitchen  (B),  on  one 
side  of  which  is  a  stable  (H) ,  on  another  the  entrance  to  the  bath  com- 
prising an  apodyterium  (D)  with  latrina  (G),  tepidarium  (E),  caldarium 
(F),  adjacent  to  which  was  the  prafurnium  (C),  where  the  water  was 
heated;  furthermore  a  bakery  (O),  and  a  dining-room  (N),  with  vesti- 
bule (M),  together  with  some  smaller  rooms  for  sleeping  (K,  L)  and 
storing  implements  (J).  On  the  north  side  was  the  large  room  of  the 
wine-presses  (P),2  and  a  group  of  small  rooms  probably  for  the  use  of 
the  servants  (V,  W,  X).  This  group,  as  well  as  the  press-room,  opened 
on  the  corridor  (Q).  At  the  east  end  were  rooms  for  crushing  (Z)  and 
pressing  (Y)  olives,  a  large  room  of  uncertain  use  (S),  and  a  threshing- 
floor  (T),  adjoining  which  was  an  open  cistern  (U).  The  large  court 
on  the  south  side,  filled  with  earthenware  casks  (dolia),  was  used  for 
the  fermentation  and  storage  of  wine  (R)  .3 

The  details  of  the  upper  story  are  less  clear,  but  it  probably  covered 
the  west  and  north  sides  of  the  quadrangle.  The  dining-room  and 
bath  downstairs  and  most  of  the  upper  story  appear  to  have  been  re- 
served for  the  use  of  the  owner;  the  room  over  the  entrance  may  have 
been  occupied  by  the  steward,  while  the  remainder  of  the  house  was 
given  over  to  the  servants  and  animals  and  to  the  business  of  the  estate. 

In  this  villa  were  found  the  bronze  table  and  the  bath-tubs  now  in 
Field  Museum,  as  well  as  a  large  number  of  vases  of  bronze,  silver, 
terra-cotta  and  glass.  The  most  important  discovery,  however,  was 
made  in  one  of  the  pits  beneath  the  floor  of  the  room  of  the  wine-presses 
(plate  CXIX,  P  3) .  Here  the  skeleton  of  a  man  was  found,  with  his  face 
against  the  bottom  of  the  pit.  In  his  hands  he  clutched  a  pair  of  gold 
bracelets  and  a  gold  neck-chain,  while  about  him  lay  the  contents  of 

1  According  to  Pasqui,  Monumenli  Antichi. .  ..</«'  Lincei  VII,  col.  400,  the  length  ism.  39.70  (=-130 
ft.  2.9  in),  the  width  m.  25.50  (  =  83  ft.  7.9  in.). 

1  The  treasure  above  mentioned  was  found  in  the  rectangular  pit  (3)  on  the  south  side  of  this 
room.  Cf.  infra,  p.  152. 

3  For  a  fuller  description  of  this  villa,  see  Pasqui,  M.  A .  L.  VII  and  Mau-Kelsey,  Pompeii  (2d. ed.) , 
ch.  xlv,  pp.  361  ff. 


152  INTRODUCTION. 

his  purse,  upwards  of  1000  gold  coins,  together  with  117  pieces  of  silver- 
ware which  he  had  carried  wrapped  up  in  a  cloth  or  sack.  This  is  the 
famous  Treasure  of  Boscoreale,  the  greater  part  of  which  was  purchased 
by  Baron  Edmond  de  Rothschild l  and  presented  to  the  Museum  of  the 
Louvre  in  Paris. 

Another  villa  of  similar  plan  was  discovered  in  1895  an<^  excavated 
in  1897.  Several  interesting  wall-paintings  were  found  in  it.  From  a 
third  villa,  found  within  the  village  of  Boscoreale,  came  the  fresco  rep- 
resenting a  sacrifice.2  A  fourth  villa,  discovered  in  1900,  was  decorated 
with  wall-paintings  of  great  interest  and  importance,  now  in  the  Metro- 
politan Museum  in  New  York.  Besides  these  villas  in  or  near  Bosco- 
reale, mention  may  be  made  of  a  villa  at  the  neighboring  Boscotrecase, 
excavated  in  1899,  and  of  another  at  Scafati,  near  Pompeii,  which 
yielded  a  number  of  fine  bronze  vases,  most  of  which  are  now  in  Berlin.^1 

The  art  represented  by  the  objects  found  in  these  villas,  particularly 
the  metal  vases  and  utensils  and  the  wall-paintings,  is  mainly  that  of 
Pompeii  and  Herculaneum  in  the  latest  stage  of  their  development,  the 
quarter  century  immediately  preceding  the  eruption.  Like  all  the 
ancient  art  on  Italic  soil,  it  is  a  product  of  foreign  influences  combined 
with  native  elements,  which  were  themselves  in  great  part  of  foreign 
derivation.  In  Campania  the  imported  ideas  came  mainly  from  the 
Greeks,  whose  colony  of  Cumae  became  politically  and  artistically 
paramount  as  early  as  the  eighth  century  B.C.4  Political  predominance 
passed,  after  a  time,  to  others,  Etruscans,  Samnites  and  Romans,  in 
their  turn,  but  the  civilization  and  art  of  the  district,  though  influenced 
and  at  times  modified  by  the  nation  in  power,  remained  for  the  most 
part  Hellenic  or  Hellenistic  throughout  antiquity.  This  Hellenism 
was  not,  however,  left  to  an  unsupported  colonial  development,  but 
through  direct  and  indirect  communications  with  the  mother-country 
was  constantly  freshened  and  renewed.  In  consequence  of  this  contin- 
uous contact  the  growth  and  changing  tendencies  of  the  art  of  Greece 
were  reflected  in  the  productions  of  the  colony  and  its  neighbors.  This 
is  especially  true  of  the  major  artistic  movements,  the  influence  of  which 
flooded  Campania  in  successive  waves.  The  last  of  these  movements 
had  been  that  wider  Hellenism  that  came  about  through  the  conquests 
of  Alexander,  which  brought  the  Greek  civilization  into  contact  with 
the  older  cultures  of  Egypt  and  the  East.  It  was  characterized  by 

1  The  price  paid  was  500,000  francs,  nearly  equivalent  to  $100,000. 

»  No.  24658. 

1  For  a  summary  of  the  villas  found  in  and  near  Boscoreale  and  in  the  neighborhood  of  Pompeii 
cf.  the  tabular  list,  p.  154,  in  which  those  mentioned  above  are  Nos.  I,  II,  III,  IV,  VI  and  VIII,  re- 
spectively. 

«  Cf.  Von  Duhn,  La  necropoli  di  Suessula,  Rom.  Mitleil.  II  (1887),  pp.  235  ff;  Pellegrini,  Tombe 
greche  arcaiche  e  tomba  greco-sannilica  a  tholos  della  necropoli  di  Cuma.  Mon.  A nt.  Line.  1903,  pp.  205  ff. ; 
Karo,  Tombe  arcaiche  di  Cuma,  Bull,  di  Paletnologia  Italiana.  XXX  (1904),  pp.  I  ff. 


INTRODUCTION.  153 

the  introduction  of  new  motives  of  decoration,  based  on  the  incrusta- 
tions and  tapestries  employed  in  those  lands,  by  a  more  literal  inter- 
pretation of  nature,  after  the  manner  of  Egyptian  art,  and  by  the  ten- 
dency to  elaboration  of  detail,  often  with  small  regard  to  its  relation 
to  the  whole,  together  with  a  certain  sentimental  individualism,  which 
had  developed  in  the  artefacts  and  the  character  of  the  later  Greeks. 

This  art,  to  which  the  name  Hellenistic  has  been  given,  had  been 
for  over  two  centuries  dominant  in  those  parts  of  Italy  where  Greek 
influence  was  felt,  particularly  in  Campania  and  the  south,  but  also 
among  the  somewhat  less  civilized  Romans,  as  their  austere  self-suf- 
ficiency gradually  broke  down  before  the  many  currents  of  foreign  in- 
fluence which  had  turned  toward  the  new  world-capital.  By  the  time 
the  Empire  was  established  the  number  of  Greek  artists  and  artificers 
working  in  Rome  had  become  so  large  that  that  city  rivaled  the  great 
eastern  capitals,  Alexandria  and  Antioch,  as  a  center  of  Hellenistic  art. 
As  the  seat  of  government  and  fashion  it  naturally  came  to  set  the 
standards  for  the  rest  of  Italy,  the  culture  of  which  even  in  the  former 
Hellenic  districts  became  relatively  somewhat  provincial. 

Under  Roman  auspices  this  art  underwent  a  certain  development.. 
While  it  derived  inspiration  from  the  stirring  events  which  brought 
about  a  concentration  of  power  such  as  had  perhaps  never  before  been 
seen,  and  encouragement  from  the  lavish  patronage  of  the  great  and 
wealthy,  it  was  influenced  by  the  taste  of  the  dominant  people  as  well 
as  by  the  character  of  their  previous  art,  to  emphasize  and  exaggerate 
various  pre-existing  tendencies  which  ultimately  led  it  far  from  the 
paths  of  the  earlier  Hellenism.  As  a  result,  the  art  of  the  first  century 
of  the  Empire  shows  in  an  increasing  degree  a  preference  for  subjects 
taken  from  real  and  living  personages  and  contemporary  history,  for 
an  accurate  but  rather  dry  method  of  expression  and,  at  the  same  time, 
for  bold  and  striking  effects  secured  by  means  of  the  accumulation  of 
detail  and  impressionistic  treatment.  This  development,  which  cen- 
tered in  the  capital,  was  followed,  as  circumstances  permitted,  by  the 
other  Italic  cities,  and  is  richly  exemplified  in  the  art  of  Pompeii  and 
Herculaneum. 


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FRESCOES. 

The  mural  decorations  which  are  described  under  the  following 
numbers,  though  found  in  or  near  Boscoreale,  are,  as  has  been  indicated 
(p.  149),  derived  from  different  villas.  Fourteen  pieces  are  said  to  be 
from  the  Villa  of  the  Treasure  (No.  I),  one1  is  very  probably  from  a 
villa  in  the  Piazza  Mercato  of  the  village  of  Boscoreale  (No.  Ill),  and 
three2  are  from  another  villa  in  the  vicinity. 

The  frescoes  had  suffered  greatly  before  entering  the  Museum,  but 
owing  to  much  patient  and  skilful  mending  appear  now  as  in  very 
fair  condition. 

Greco-Roman  decorative  wall-painting  as  exemplified  in  the  Cam- 
panian  cities  has  been  divided3  into  four  classes  or  styles.  The  walls 
of  the  First  Style,  which  is  the  earliest  in  date,  imitate  veneer  of  marble 
of  various  colors ;  those  of  the  Second  and  Fourth  Styles  are  decorated 
chiefly  with  architectural  motives,  which  in  the  former  preserve  veri- 
similitude, but  in  the  latter  tend  to  fanciful  and  impossible  construc- 
tions. In  the  Third  Style  architectural  motives,  though  freely  used, 
form  a  decorative  element  which  is  kept  subordinate  to  the  general 
scheme  of  the  design  and  does  not  seem  to  form  an  end  in  itself.  Both 
the  Third  and  the  Fourth  Styles  are  derived  from  the  Second,  though 
probably  developed  in  different  centers.  The  walls  of  the  Fourth 
Style  form  the  latest  group  in  point  of  time.  The  frescoes  of  the  Field 
Museum  collection  which  make  use  of  architectural  motives  are  of 
the  Fourth  Style,  though  one4  shows  marked  influence  of  the  Third 
Style. 

With  regard  to  the  rooms  and  walls  from  which  the  decorations 
were  taken  very  little  detailed  information  is  accessible.  From  the 
official  report  of  the  excavation  of  1899  it  is  possible  that  some  of  the 
architectural  pieces  (No.  24657  or  24651,  24656,  24659)  are  from  the 
triclinium  or  dining-room  (N).5  This  was  a  room  with  tripartite 
horizontal  division  of  the  decoration.  There  was  a  black  dado,  above 
which  the  main  part  of  the  surface  had  a  yellow  background.  The 
ground  of  the  uppermost  part  was  white.  A  general  idea  of  the  arrange- 

1  No.  24658. 

*  Nos.  24671-24673. 

»  Mau,  Geschichte  d.  dec.  Wandmulerei  in  Pompeii,  Berlin,  1882.  Mau-Kelsey,  Pompeii  (2d  ed.), 
pp.  457  ff. 

4  No.  24671. 

4  Notisie  degli  Scavi,  1899,  p.  15  (Sogliano).  But  not  to  be  ascribed  to  this  room  if  the  black  stripes 
at  the  sides  are  part  of  the  background. 

155 


156       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

ment  of  such  a  decoration  may  be  obtained  from  a  wall  of  the  Casa 
qg  delta  seconda  Font  ana  di  Musaico  in  Pompeii,  illustrated  in  plate  CXXX.1 
In  this  it  will  be  seen  that  the  architectural  prospects  at  either  side 
of  the  middle  panel  of  the  principal  surface  correspond  to  such  pieces 
as  No.  24651,  the  leaf -framed  compartments  at  the  sides  of  the  upper 
part  to  Nos.  24652,  24655,  while  the  still  higher  compartments  with  a 
goat  or  deer  in  the  center  are  analogous  to  No.  24653.  The  small, 
oblong,  red-framed  compartments  at  the  sides  of  the  right  and  left 
panels  of  the  principal  surface  bear  some  resemblance  to  No.  24650, 
which  is  shown  by  the  yellow  background  outside  of  the  frame  to  be 
from  the  central  portion  of  the  wall — assuming  that  it  is  from  the 
triclinium.  The  same  division  is  said  in  the  above  mentioned  Report 
to  have  contained  'flying  monsters,'  which  may  probably  be  identi- 
fied with  the  androsphinxes,  Nos.  24646-24649,  also  with  yellow  ground. 
A  suggestion  for  the  position  of  No.  24654  is  contained  in  a  Pompeian 
decorated  wall'^1  of  the  Fourth  Style,  in  which  a  very  similar  picture 
is  placed  at  the  bottom  of  the  upper  division,  just  beneath  a  com- 
partment similar  to  Nos.  24652,  24655.  No.  24661  is  perhaps  from 
the  upper  division,  or  possibly  from  the  ceiling.®  The  large  pieces 
Nos.  24671,  24673  are  probably  from  the  central  division  of  the  walls 
from  which  they  were  taken. 

Owing  to  the  fact  that  the  pieces  are  encased  in  permanent  frames 
it  has  not  been  possible  to  make  a  thorough  examination  of  the  plaster 
underneath  the  surface  or  to  ascertain  just  how  closely  the  ancient 
prescription  of  three  coats  of  plaster  and  two  or  three  of  stucco4  was 
followed.  So  far  as  the  interior  of  the  pieces  could  be  observed  in  places 
where  the  surface  is  cracked  or  detached,  the  plaster  is  coarse  and 
gritty  except  near  the  surface,  where  a  finer  coating  of  the  same  color 
was  added  to  receive  the  paint.  This  is  the  only  'stucco'  to  be  seen. 
The  thickness  of  the  pieces  appears  to  be  about  three  inches,5  except 
No.  24673,  the  only  one  accurately  measured,6  which  is  five  inches  deep 
from  front  to  back. 

The  technique  employed  in  the  application  of  the  paint  is  very 
probably  true  or  'real'  fresco.7 

1  After  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  ii,  plate  95. 

2  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  iii,  plate  96. 
'  Cf.  Villa  of  Diomedes,  Zahn,  op.  cit.  Vol.  i,  plate  67. 

4  Pliny,  Nat.  Hist,  xxxvi,  176.     Vitruvius,  vii,  3,  6. 

1  Cf.  Mau-Kelsey,  Pompeii  (ad  ed.),  p.  456. 

•  Cf.  p.  181. 

7  Cf.  Donner  in  Helbig,  Wandgem&lde  der  v.  Vesuv  verschiittelen  Stddte  Campaniens,  p.  i. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  157 

FRESCO.    24657.   [PLATE   CXX.] 

Panel  with  architectural  prospect.  The  design  consists  of  a  strip 
of  wall,  which  has  a  dado  beneath,  and  an  opening  above,  through 
which  the  spectator  sees  farther  architectural  details,  and,  beyond 
them,  quite  out  of  doors,  the  corner  of  a  building.  The  wall  is  repre- 
sented as  continued  above  the  opening,  this  part  being  ornamented 
with  a  painted  aquatic  scene.  At  either  side  of  the  design  there  is  a 
black  stripe,  which -appears  to  form  part  of  the  background. 

The  dado  is  red,  with  a  border  at  top  and  sides  of  green  edged  with 
white.  At  the  top  there  is  a  cornice,  which  is  painted  yellow,  with 
narrow  horizontal  stripes  of  red. 

The  surface  of  the  wall  above  the  dado  is  represented  by  two  vertical 
yellow  bands,  ornamented  with  horizontal  and  vertical  red  lines, 
which  are  intended  to  suggest  panelling.  Inside  the  yellow  bands  a 
green  band  on  the  left,  together  with  an  arched  lintel,  forms  the  frame 
of  the  opening.  The  lintel  joins  on  the  right,  or  rather  passes  behind, 
a  vertical  dark  red  band  bordering  on  the  yellow  surface,  but  perhaps 
not  quite  on  the  same  plane  with  it.  Above  the  lintel  there  is  a  dark 
green  cornice  which  is  represented  as  projecting  into  the  foreground. 
This  is  the  only  part  of  the  wall  which  is  figured  as  nearer  the  spectator 
than  the  yellow  bands  above  mentioned. 

Within  the  opening  is  a-  short  passage-way  or  vestibule.  The 
ceiling  is  painted  in  alternate  yellow  and  red  lines,  the  former  probably 
representing  narrow  wooden  strips.  Just  beyond  the  vestibule,  on  the 
left,  a  dark  red  band  separates  it  from  the  succeeding  interior  architec- 
ture. This  consists  of  the  corner  of  a  light  two-storied  structure,  through 
which  the  open  air  appears  as  a  white  background.  The  greater  part 
of  the  front  is  a  short  passage-way,  similar  to  the  preceding.  The  ceil- 
ing is  in  dark  green  with  light  green  strips.  Above  the  lintel  there  is  a 
cornice  of  light  and  dark  green.  From  the  inner  lintel  is  suspended  a 
wreath  attached  at  the  top  to  a  sort  of  vase  or  basket.  Of  the  second 
story  front  only  a  small  portion  shows  above  the  cornice.  The  left 
side  of  the  structure  has,  on  the  right  side  of  the  lower  story,  a  fluted 
column  probably  of  the  Corinthian  order,  colored  light  and  dark  green, 
as  the  light  was  supposed  to  fall  upon  it.  It  supports  an  entablature 
consisting  of  an  architrave  of  not  quite  correct  Corinthian  style,  a  frieze 
which  is  divided  into  eight  compartments  with  a  garland  in  each,  and 
a  cornice  which  forms  an  angle  with  that  of  the  front,  with  which  it 
agrees  in  color.  The  open  space  between  entablature  and  column  is 
contracted  by  means  of  a  thick  wall  painted  in  successive  stripes  of 


158       FIELD  MUSEUM  or  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

blue  (next  to  column),  red,  yellowish  brown  and  yellow,  while  in  the 
opening  the  section  of  wall  which  shows  is  blue.  The  lower  part  of 
this  wall,  as  well  as  the  opening,  is  shut  off  by  a  screen  in  yellowish  and 
greenish  brown.  In  it  there  is  a  tall  narrow  door  indicated  by  means 
of  white  lines.  It  is  represented  as  closed.  Above  there  are  horizontal 
red  lines.  Of  the  second  story  there  appears  on  this  side  only  a  trian- 
gular bit  of  wall,  colored  green. 

From  the  structure  just  described  there  is  a  view  of  part  of  the  front 
of  a  building,  probably  a  temple,  carried  out  in  various  shades  of  green. 
At  the  corner  of  the  building  there  is  a  Corinthian  column  without  base, 
supporting  an  entablature  —  architrave,  frieze  with  figures  indistinctly 
suggested,  and  cornice.  Above  appears  the  end  of  the  pediment,  which 
is  destitute  of  figures.  At  the  right  of  the  column  and  beneath  the 
architrave  a  portion  of  the  front  wall  of  the  pronaos  is  visible,  and  beyond 
it,  in  a  darker  shade  of  green,  a  bit  of  the  wall  of  the  cella.1 

The  aquatic  scene  which  is  painted  on  the  principal  wall  surface 
above  the  opening  has  a  green  background  representing  water,  in  the 
center  of  which  are  seen  tall  white  plants,  while  at  right  and  left  there 
is  a  fish.  The  picture  has  a  border  of  dark  red  trimmed  with  white 
and  a  narrow  dark  brown  stripe  just  inside  the  white.  The  frame  of 
the  panel  is  completed  by  a  yellow  band  across  the  top  corresponding 
in  length  to  the  cornice  above  the  dado.  The  ends  of  this  band  are 
treated  as  in  No.  24651  (q.  v.). 

From  the  analogy  of  similar  pieces  it  is  very  probable  that  this 
panel  was  placed  on  the  left  of  the  principal  design.2 

Height,  m.  2.106  (  =  6  ft.  10.91  in.).     Width,  m.  0.785  (  =  2  ft.  6.9  in.). 

The  panel  is  substantially  complete. 

The  plaster  has  many  cracks.  The  paint  is  faded,  and  is  chipped  off  in  numerous 
places,  mostly  small,  though  the  general  effect  is  quite  well  preserved. 

The  paint  seems  to  have  been  applied  to  a  thin  coat  of  stucco  or  fine  plaster. 
The  gable  was  originally  about  an  inch  higher,  and  the  first  sketch  may  be  seen 
under  the  white  where  the  latter  is  worn.  The  vertical  red  stripe  at  the  left  just 
past  the  vestibule  looks  like  an  afterthought.  There  are  many  instances  of  one 
color  over  another,  due  to  contiguity.  The  shades  of  the  colors  are  varied  to  in- 
dicate light  and  shadow,  as,  for  example,  in  the  column,  the  cornice  and  the  screen. 

FRESCO.     24651.     [PLATE   CXXL] 

Panel  with  architectural  design.  A  narrow  strip  of  wall  is  painted, 
as  in  the  preceding  number  (24657),  with  dado  and  top-piece,  while  the 
portion  between  them  is  conceived  as  affording  a  view  out  into  the  open 

«  For  a  somewhat  similar  view  of  a  gabled  structure  with  wing  projecting  forward,  cf.  the  House 
of  Argus  and  lo  in  Herculaneum,  Zahn,  Die  schoensten  Ornamente,  etc.   Vol.  ii,  plate  83. 
*  Cf.  the  following  three  numbers. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  159 

through  a  light  and  airy,  but  somewhat  complicated,  structure.  At 
either  side  there  is  a  similar  black  stripe  serving  as  background. 

The  dado  is  like  that  of  No.  24657,  but  there  is  also  a  yellow  stripe 
at  the  bottom  with  nearly  black  horizontal  lines. 

The  top-piece,  which  is  decorated  with  sea -monsters  in  yellowish 
white  on  green  ground,  is  surrounded  by  a  dark  red  border,  which  is 
edged  on  the  inner  side  with  a  narrow  white  stripe  and,  at  least  at  top 
and  bottom,  with  a  wider  reddish  brown  stripe.  The  upper  border  is 
continued  at  the  ends  by  short  pieces  of  yellow  with  the  usual  red  lines, 
extending  across  the  black  at  the  sides.  The  darker  shade  of  the  under 
side  is  indicated  by  slightly  whitening  the  background.1  This  border 
with  the  end-pieces  forms  the  top  of  the  panel,  and  corresponds  in  plane 
to  the  top  of  the  dado. 

In  the  space  between  dado  and  top-piece  the  front  plane  of  the  wall 
is  represented  by  a  vertical  yellow  band  on  the  right,  bearing  a  narrow 
red  stripe  and  line,  but  the  edge  or  frame,  so  to  speak,  about  the  opening 
is  green,  both  the  sides  and  the  slightly  arched  top.  Just  above  the  top 
a  gray  cornice,  both  ends  of  which  are  visible,  projects  forward.  Its 
under  side  is  painted  a  darker  hue  to  show  that  it  is  in  shadow. 

The  space  within  the  opening  is  occupied  by  architectural  motives 
in  two  stories,  which  do  not,  however,  exactly  correspond  either  struct- 
urally or  in  plane.  In  the  first  story  there  is,  on  the  left,  flush  with  the 
front,  a  sort  of  gallery,  the  exterior  of  which  is  yellow,  the  interior  most- 
ly green.  It  has  a  rectangular  pilaster  on  the  right,  an  Ionic  architrave, 
a  red  frieze  the  lower  half  of  which  is  occupied  by  a  yellow  leaf  pattern, 
suggesting  dentils,  and  a  widely  overhanging  cornice.  On  the  right,  at 
both  front  and  back,  there  are  acroteria  consisting  each  of  a  double 
vegetable  scroll,  the  yellow  color  of  which  probably  represents  gilded 
bronze.  On  the  right  there  is  a  wider  building,  which  is  set  somewhat 
farther  back.  The  sides  are  dark  green.  The  ceiling  has  grayish 
strips,  with  reddish  brown  interstices,  from  front  to  back.  A  small 
fragment  of  a  wreath,  which  was  attached  to  it,  still  remains.  Above 
the  ceiling  there  is,  in  front,  a  gray  architrave  of  Ionic  type.  This 
architrave,  the  top  of  which  is  about  on  a  level  with  the  ceiling  of  the 
yellow  edifice,  is  surmounted  by  a  rectangular  panel  which  has  a  dark 
red  border  with  edging  of  white  on  the  inside.  The  interior  has  on  a 
green  ground  a  rosette  in  the  center  with  a  boucranion  at  either  side, 
all  in  yellow.  This  top-piece  is  clearly  back  of  the  roof  of  the  first 
building. 

In  the  second  story  the  entire  front  is  occupied 'by  a  sort  of  vestibule. 
Its  left  wall  is  yellow,  the  corresponding  wall  on  the  right  does  not 

1  Traces  of  a  similar  proceeding  may  be  seen  in  No.  24657. 


160      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

appear.  The  ceiling  has  yellow  strips  with  red  interstices.  The  inner 
architrave  is  of  a  brownish  color,  with  two  yellow  lines  to  indicate  the 
subdivisions.  Back  of  this  entrance-way  appears  the  corner  of  a  balcony 
in  bluish  gray  and  drab.  A  heavy  pilaster  supports  the  right  end  of  an 
Ionic  architrave  coming  from  the  left.  This  architrave  is  of  triple 
width;  the  central  portion  is  covered  with  ceiling-strips.  Above  is  seen 
part  of  a  dark  violet  frieze  with  greenish  leaf -pattern,  suggesting  dentils, 
in  the  lower  part.  The  same  order  is  carried  across  the  front,  but  it 
seems  less  heavy  because  only  a  little  of  the  under  side  can  be  seen.  The 
frieze  is  like  that  just  described.  Both  side  and  front  are  open,  the 
external  space  thus  revealed  appearing  as  a  white  ground. 

According  to  the  usual  arrangement  in  this  style  of  decoration,  this 
panel  will  have  been  placed  at  the  left  of  the  principal  picture  on  the 
wall,  and  a  corresponding  panel,  in  this  case  No.  24656,  on  the  right. 
There  is  a  very  similar  panel  in  the  House  of  the  Vettii,1  belonging  to 
the  second  period  of  the  so-called  Fourth  Style,  after  63  A.  D.2  The 
inconsistencies  in  the  design,  particularly  the  lack  of  correspondence 
between  the  two  stories,  are  characteristic  of  this  style,  in  which  archi- 
tectural motives  are  freely  combined  without  regard  to  structural 
probability.® 

Height,  m.  2.105  (=6  ft.  10.87  m-)-    Width,  m.  0.62  (  =  2  ft.  0.4  in.). 

The  fresco  is  considerably  damaged.  Diagonally  across  the  center  there  is  a 
wide  gap  in  the  plaster,  which  has  been  filled  in  with  a  modern  substitute.  The 
missing  portion  includes  the  upper  part  of  the  building  on  the  right  in  the  first  story 
except  a  piece  of  the  architrave  and  a  fragment  of  the  ceiling.  There  are  also  nu- 
merous small  abrasions.  The  paint  is  more  faded  than  in  No.  24656. 

There  are  many  traces  of  overlapping  of  colors.  In  the  architectural  portion 
black  was  applied  first,  then  green  or  drab,  then  red,  then  yellow,  indicating  that  the 
decorator,  after  making  the  frame,  worked  fiom  the  innermost  part  of  the  structure 
forward.  In  the  dado  the  order  was  red,  black,  green,  yellow. 


FRESCO.   24656.     [PLATE  CXXL] 

Panel  with  architectural  design  very  similar  to  the  preceding, 
No.  24651,  except  that  the  arrangement  of  the  buildings  is  reversed. 

It  is  incomplete,  the  missing  portions  being  the  second  story  above 
the  spiral  acroteria  and  part  of  the  yellow  cross-band  at  the  bottom  of 
the  dado.  There  are  numerous  small  abrasions,  and  the  colors  are 

i  Mau,  Roem.  Mitteil.  XI  (1896),  p.  57  (fig-).  P-  49- 

*  Ibid.  p.  6. 

1  Cf.  Mau-Kelsey,  Pompeii  (ad  ed.).  PP-  463,  467. 

Panel  with  plain  opening  in  the  lower  story  and  two  elaborate  stories  above,  Casa  di  Apollo, 
Pompeii  (Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  ii,  plate  43).  In  the  Casa  delta  Caccia,  Pompeii 
(ibid.  ii.  33)  the  side-entrances  have  a  door  which  is  left  open.  It  leads  on  to  the  top  of  the  wainscoting  to 
which  steps  lead  up  from  below,  thus  suggesting  a  stage.  Both  are  of  the  Fourth  Style.  On  the 
possible  relation  of  the  decoration  of  this  style  to  the  scenae  irons,  cf.  Puchstein,  Jahrb.  XI  (1896). 
Am.  pp.  28  ff.,  XXII  (1907),  Anz.  pp.  408  ff. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  161 

somewhat  faded,  but  various  details  appear  more  clearly  than  in  the 
panel  just  described  (24651). 

The  following  particulars  may  be  mentioned.  The  yellow  band  at 
the  top  of  the  dado  has  two  horizontal  red  lines  in  the  center  and  two 
very  close  together  near  the  top,  a  somewhat  sketchy  representation  of 
a  wooden  architrave  of  Ionic  type.  The  broad  vertical  yellow  stripe, 
representing  the  exterior  wall-surface,  appears  here  on  the  left  side, 
accompanying  the  structures  which  occupy  the  front  of  the  architectural 
picture.  The  lower  part  of  the  frieze  of  the  yellow  building  in  the  lower 
story  is  ornamented  with  a  leaf  pattern  suggesting  dentils,  when  seen 
from  a  little  distance.  In  the  oblong  panel  above  the  lower  left  hand 
building  the  rosette  seems  to  be  a  double  flower  with  many  petals^ 
The  wreath  is  attached  at  the  top  to  a  sort  of  holder  which  probably 
represents  a  jar  with  round  bottom  and  two  handles,  a  device  which 
may  be  seen  still  more  clearly  in  No.  24659. 

This  panel  was  evidently  placed  on  the  right  of  the  principal  picture. 
From  the  close  resemblance  which  it  bears  in  design,  as  well  as  in  color- 
ing to  No.  24651,  it  is  very  probable  that  they  are  from  the  same  wall, 
and  that  the  principal  picture  stood  between  them. 

Height,  m.  1.453  (=4  ft.  9.2  in.)-    Width,  m.  0.66  (  =  2  ft.  1.98  in.). 

In  the  upper  part  the  black  and  white  were  applied  before  the  greens,  the 
yellow  after  them.  The  red  of  the  border  of  the  rosette-panel  was  put  on  after  the 
green  of  the  interior,  but  before  the  green  of  the  vertical  stripe  at  the  left.  The 
yellow  of  the  narrow  building  at  the  light  overlies  both.  Evidently  the  decorator 
worked  here  also  from  the  interior  outward  toward  the  spectator.  The  outer  vertical 
green  stripe  on  the  right  shows  traces  of  a  white  line,  which  came  down  the  center 
as  far  as  the  dado,  but  was  subsequently  painted  over. 

FRESCO.     24659.     [PLATE  CXXL] 

Panel  with  architectural  design  similar  to  the  preceding,  No.  24656. 
Incomplete;  the  preserved  portion  extends  but  a  short  distance  above 
the  spiral  acroteria,  and  to  about  the  middle  of  the  dado.  The  edges 
on  both  sides,  including  the  black  and  yellow  vertical  enclosing  stripes, 
are  missing.  There  are  numerous  small  abrasions,  as  well  as  a  larger 
patch  in  the  lower  right  corner  where  the  outer  surface  of  the  plaster 
is  destroyed.  The  plaster,  as  it  appears  here,  is  coarse  and  gritty 
nearly  to  the  front,  where  it  seems  to  have  been  covered  by  a  thin 
coating  of  a  sort  of  stucco.  The  colors  are  somewhat  faded.  At  present 
the  tints  differ  considerably  from  those  of  the  two  similar  pieces,  par- 
ticularly the  greens,  which  are  lighter,  and  the  red  of  the  dado,  which 
is  darker. 

i  Four  yellow  rosettes  in  panel  above  door,  Roux,  Herculanum  et  Pompii.  Vol.  i,  plate  30  (Fourth 
Style). 


162       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  following  are  the  more  noteworthy  details.  The  right  interior 
wall  of  the  yellow  building  of  the  first  story  has  a  vertical  white  line 
near  the  left  edge.  At  the  top  of  the  wide  green  stripe,  which  forms 
the  back  wall,  there  is  a  molding.  The  right  wall  of  the  building  on  the 
left  is  violet  colored,  except  for  a  dark  line  near  the  left  edge.  The 
ceiling-strips  are  bluish  gray,  the  inter-spaces  are  violet.  The  interior 
architrave  is  greenish  drab;  the  lines  which  indicate  the  divisions  of 
the  surface  are  bluish  gray.  The  exterior  architrave  is  greenish  gray 
with  division  lines  of  chrome  green.  The  boucrania  are  slightly  and 
poorly  sketched.  A  well  preserved  garland  is  suspended  from  a  sort 
of  jar 1  with  U-shaped  bent  handles,  extending  upward  from  the  lip,  and 
a  horizontal  handle,  projecting  from  the  side  near  the  lip,  under  the 
large  upper  handle.  The  vase  is  of  a  reddish  brown  color,  but  the  lip 
and  the  two  rings  just  beneath  it  are  painted  white  to  indicate  light 
falling  on  raised  surfaces.  The  round  part  of  the  garland  does  not  form 
a  complete  ring,  but  an  end  is  suspended  from  each  of  the  upright 
handles  of  the  vase.  The  perpendicular  part  seems  to  be  hung  from 
near  the  bottom  of  the  vase,  but  the  precise  manner  of  attachment 
is  not  clear. 

The  panel  was  evidently  placed  on  the  right  of  the  principal  picture. 
Owing  to  the  differences  in  the  coloring,  noted  above,  it  is  improbable 
that  it  served  as  a  companion  piece  to  No.  24651.  Whether  it  belonged 
to  another  room,  or  to  another  wall  of  the  same  room,  would  be  difficult 
to  determine. 

Height,  m.  1.388  (  =  4  ft.  6.64  in.).    Width,  m.  0.475  (  =  i  ft.  6.7  in.). 

In  the  dado  the  green  paint  was  applied  after  the  red;  in  the  rosette-panel  the 
red  was  put  on  after  the  green,  that  is,  the  interior  was  in  both  cases  painted  before 
the  border. 

A  point  in  which  all  four  of  the  frescoes  with  dado  agree  is  the  presence  of  a  narrow 
black  stripe  along  the  upper  edge  of  the  upper  green  border  of  that  part,  though 
here  it  is  partly  painted  over  with  green.  The  stripe  may  be  taken  as  indicating 
that  the  top  of  the  border  lying  just  beneath  the  projecting  yellow  (wooden)  cornice 
is  in  shadow. 

FRESCO.     24653.     [PLATE  CXXIL] 

Decorative  compartment  with  border  and  top-piece,  detached  from 
a  white  ground. 

The  principal  design  figures  a  sort  of  deer  in  the  attitude  of  ascending 
a  very  steep  declivity,  while  the  head  is  turned  so  that  the  creature's 
gaze  is  directed  backwards.  Just  what  animal  is  represented,  is  not 
clear;  perhaps  the  chamois  was  in  the  mind  of  the  decorator,  although 
the  horns  should  in  that  case  turn  backward.  The  color  basis  is  a 

1  Similar  in  shape  to  the  vase  of  the  preceding  No.  24656,  but  with  different  handles. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  163 

dark  blue  upon  which  red  was  laid  for  the  neck  and  the  greater  part  of 
the  body.  Over  the  red  there  are  a  few  whitish  stripes.  The  back- 
ground is  white,  and  there  are  no  indications  of  landscape. 

The  frame  or  border,  which  encloses  the  design,  is  a  similar  blue 
to  that  of  the  enclosed  figure,  but  darker.  It  was  decorated  with  from 
three  to  five  narrow  white  stripes  of  the  same  direction  as  the  respective 
sides.  On  the  under  side  the  border  is  enlarged  by  a  wide  stripe  of 
reddish  white,  on  which  there  is  a  pattern  consisting  of  red  horizontal 
lines  and  inverted  T's  of  the  same  color. 

At  either  side  of  the  frame  there  are  narrow  uneven  strips  of  white, 
probably  from  the  background.  At  a  point  a  little  above  the  center 
of  the  stripes,  a  horizontal  red  band  from  the  right  and  another  from  the 
left  joined,  but  did  not  cross,  the  frame. 

Above  the  enclosure  there  is  a  narrow  rectangular  top-piece  sur- 
rounded by  a  dark  red  border  with  a  line  of  white  about  the  inner  edge. 
The  interior  has,  on  a  green  ground,  designs  in  white,  a  bird  in  the  center 
and  at  either  side,  and,  in  either  interval,  a  plant  with  large  round  leaves. 
The  bird  in  the  middle  is  probably  a  swan,  that  at  the  left  may  be  the 
same,  while  the  bird  at  the  right  is  uncertain.  Besides  the  foregoing 
there  are  slight  and  indistinct  traces  of  other  plants  in  white. 

For  the  place  which  this  piece  may  have  occupied  on  the  wall, 
cf.  p.  156.  There  is  also  a  similar  animal  figure  in  the  dado  of  the  wall 
of  a  house  near  the  Basilica  in  Pompeii^ 

Height,  m.  0.608  (=  i  ft.  11.93  in.).    Width,  m.  0.415  (  =  i  ft.  4.33  in.). 

The  panel  is  in  fairly  good  condition,  but  it  has  been  broken  across,  a  little  above 
the  center,  and  the  colors,  especially  of  the  border,  are  considerably  worn  and 
faded. 

FRESCO.     24652.     [PLATE  CXXIL] 

Decorative  compartment  with  border  and  top-piece. 

The  compartment  is  represented  as  a  room  enclosed  by  a  four-sided 
frame  or  border.  The  side-pieces  are  made  up  of  narrow  vertical 
stripes  of  dark  red,  reddish  white  and  green.  It  is  probable  that 
leaves  were  painted  over  these  stripes,  in  a  lighter  shade  of  green.  On 
the  right  side  there  seems  to  be  a  rosette.  The  top  has  horizontal 
stripes  similar  to  those  of  the  side-pieces.  The  bottom  is  a  whitish 
band,  which  has  three  horizontal  red  lines,  besides  a  very  dark  red  stripe 
on  the  upper  edge.  From  the  latter  depend  inverted  T's  of  the  same 
dark  shade.  On  the  inside  of  the  frame  there  is,  along  either  edge,  at 
right  and  left,  a  dark  green  vertical  line,  from  which  the  ends  of  dark 
green  leaves  project  toward  the  interior. 

1  Zahn,  Die  schoensten  Ornamente,  etc.,  Vol.  i,  plate  29. 


164      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

That  the  space  enclosed  by  the  frame  is  intended  to  represent  the 
interior  of  a  room,  is  evident  from  the  ceiling.  This  is  a  pattern  of 
bluish  tinge  applied  in  three  shades.  At  the  top  there  is  a  broad  dark 
stripe,  the  upper  part  of  which  is  particularly  dark.  Beneath  there  is 
a  lighter  band,  nearly  straight  across  the  top,  but  with  pointed  ends  and 
convex  lower  edge.  This  band  is  crossed  by  rays  which  start  from  the 
upper  band  and  have  the  same  color  as  the  lower  part  of  that  band. 
From  the  shape  of  the  ceiling  it  is  apparent  that  the  room  is  thought 
of  as  circular.  The  light  toned  part  of  the  ceiling  belongs  to  the  side  of 
the  room  which  is  farthest  from  the  spectator. 

In  the  white  interior  there  is  a  large  two-handled  vase  or  basket 
suspended  from  the  ceiling  by  means  of  a  bright  red  cord,  which  parts 
near  the  lower  end  into  two  strands,  each  of  which  is  attached  to  a 
handle.  After  forming  a  sort  of  bow  here,  and  a  loop  at  the  side  of  the 
vase,  the  cord  appears  beneath  it  in  the  form  of  two  wide  straight 
hanging  ends.  The  vase  has  a  wide  rim  sloping  somewhat  downward, 
and  concave  sides  with  raised  ornamental  bands  near  the  bottom. 
Besides  the  two  bail-handles  there  was  a  U-shaped  handle  projecting 
upward  from  either  side  near  the  bottom.  The  base  consists  of  two 
discs  connected  by  a  slender  shaft.  Handles  and  base  are  of  metallic 
form.  From  the  color,  which  is  a  dark  green  with  lighter  shades  and 
bits  of  white  to  indicate  the  play  of  light  on  the  surface,  the  material 
of  the  vase  would  seem  to  have  been  conceived  of  as  bronze. 

The  top-piece  has  its  own  border  of  very  dark  red  with  a  pale  yellow 
line  about  the  inner  edge.  The  interior  has  a  brick-red  ground  with 
decorations  in  the  same  pale  yellow  as  the  line.  On  a  base  consisting 
of  a  horizontal  stripe  are  represented  three  trees  and  two  horses. 
The  trees  are  gnarly  and  leafless  according  to  the  earlier  conventional 
manner.  The  right  horse  runs  to  left,  but  has  his  head  turned  to  the 
right.  The  left  hor^e  gallops  to  left.  A  curved  object  projecting 
upward  from  the  middle  of  his  back  is  probably  his  tail  misplaced. 

Height,  m.  o.  637  (  =  2  ft.  1.07  in.)    Width,  m.  0.427  (  =  i  ft.  4.81  in.) 
Abraded  in  lower  right  corner.     Considerably  worn  and  faded. 


FRESCO.     24655.     [PLATE  CXXIIL] 

Decorative  compartment  very  similar  to  the  preceding,  No.  24652. 

The  following  are  the  more  noteworthy  details.  On  the  sides  of 
the  frame  there  are  traces  of  sprays  of  leaves  in  a  rusty  light  green, 
painted  over  the  red1  and  dark  green  stripes,  which  form  the  basis  of 

1  There  is  no  very  dark  red  on  these  side-frames,  but  there  is  an  irregular  stripe  of  that  color  on 
the  upper  cross-piece. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  165 

those  pieces.  The  inner  border  of  projecting  dark  green  leaf-ends  is 
well  preserved.  On  the  left  side  there  appears  to  have  been  a  narrow 
white  stripe  drawn  over  the  left  edge  of  this  fringe.  The  lower  cross- 
piece  has  six  light  red  stripes  and  partial  stripes,  besides  the  dark  red 
stripe  at  the  top.  The  dark  red  pendants  have  no  caps  at  the  lower 
ends.  At  the  bottom  there  is  a  dark  green  stripe.1  In  the  interior, 
just  above  the  lower  cross-piece,  there  is  a  whitish  stripe.2  The  sus- 
pended vase  is  like  that  of  the  other  fresco  (No.  24652),  but  the  details 
are  more  clearly  preserved.  The  lower  part  has  the  calyx  form,  the 
base  is  somewhat  heavier  than  in  the  other  picture.  The  upper  handles 
have  recurved  ends.  The  lower  handles  have  the  U-form,  but,  owing 
to  the  sketchy  treatment,  the  sides  do  not  appear  to  be  connected.  In 
the  interior  of  the  top-piece  the  base-line  is  visible,  but  of  the  figures 
only  indistinct  blotches  remain.  One  of  these  (on  the  left  side)  may 
have  been  a  horse,  the  others  are  small  and  shapeless. 

From  the  close  resemblance  existing  between  this  piece  and  No. 
24652  it  is  very  probable  that  they  are  corresponding  pieces  from  the 
same  wall. 

Height,  m.  0.655  (  =  2  ft-  r-78  in-)-    Width,  m.  0.415  (  =  i  ft.  4.33  in.). 

Lacks  upper  half  of  topmost  frame-stripe,  as  well  as  the  upper  right  corner, 
which  has  been  filled  in  with  modern  plaster.  There  are  numerous  small  cracks 
and  abrasions,  and  the  paint  has  faded;  but,  except  for  the  top-piece,  it  is  rather 
better  preserved  than  its  companion-piece. 

FRESCO.     24661.     [PLATE  CXXIV.] 

Small  decorative  compartment  with  bird. 

The  light  red  quadrangular  border  is  probably  partly  covered  by 
the  wooden  frame  in  which  it  is  at  present  encased.  There  is  an  irregu- 
lar dark  stripe  near  the  inner  edge,  and,  on  the  left  side,  a  white  streak. 

In  the  white  interior  a  flying  bird  with  short  curved  beak,  long, 
badly  drawn  wings  with  recurved  ends,  long  tail  and  outspread  toes,3 
swoops  downward  to  right.  The  chief  fault  with  the  drawing  is  that 
the  upper  parts  of  both  wings  are  attached  to  a  single  lower  part,  which 
is  besides,  excessively  elongated.  The  bird  is  of  a  brownish  color  with 
applied  details  in  light  gray.® 

Height,  m.  0.223  (  =  8-77  in-)-    Width,  m.  0.23  (=9.05  in.). 
The  border,  which  was  probably  originally  a  thin  brick-red,  is  abraded  in  divers 
places. 

1  Owing  to  poor  preservation  it  is  uncertain  whether  there  was  such  a  stripe  in  the  companion- 
piece. 

J  Something  similar  may  be  seen  in  No.  24652. 

1  On  one  foot  there  is  a  spur. 

4  A  somewhat  similar  bird,  but  with  longer  neck,  in  a  fresco  of  the  Fourth  Style  from  Pompeii, 
Zahn,  Die  schocnsten  Ornamente,  etc.  Vol.  Hi,  plate  87. 


166       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

FRESCO.     24650.     [PLATE  CXXV.] 

Decorative  compartment  with  representation  of  vases  and  palm- 
branches. 

On  a  yellow  background,  which  shows  also  at  the  top  and  on  the 
left  edge,  there  is  painted  a  border  in  dark  red,  with  a  narrow  white 
edge  both  inside  and  outside.  In  the  lower  part  of  the  interior  there 
is  a  dark  red  horizontal  band  with  trimming  of  white  on  the  under  side. 
The  left  end  is  oblique,  the  other  appears  always  to  have  been  irregular. 
This  band  represents  a  surface  like  a  board  without  means  of  support. 

On  and  back  of  this  basis  there  are  various  objects.  At  the  left  is 
a  sort  of  jar  with  base,  wide  lip  and  short  neck,  painted  in  dark  brown 
streaked  with  black  and  whitish  to  represent  a  metal  surface  played 
upon  by  the  light.  There  are  two  whitish  bands  in  the  center,  and  one 
in  the  lower  part,  which  are  to  be  regarded  as  raised  above  the  adjacent 
parts.  At  the  beginning  of  the  shoulder  there  is,  on  the  left,  a  ring- 
handle  with  ornamental  attachment,  and  opposite  to  it,  on  the  right,  a 
high  U-shaped  handle  curving  inward.  It  also  has  an  ornamental  at- 
tachment, but  of  a  different  character.  On  the  left  side  of  the  lower 
part  of  the  body  there  is  a  projecting  head  like  that  of  a  horse,  to  which 
nothing  on  the  opposite  side  corresponds^  Against  the  front  of  this 
vase  a  l°ng  palm  branch  is  tilted,  the  leafy  part  downwards.®  On  the 
stem  there  is  a  festoon  of  ribbon.  Branch  and  festoons  are  in  white  and 
brown.  Back  of  the  branch  a  ribbon  attached  to  the  left  handle  is 
faintly  drawn  in  white. 

About  in  the  middle  of  the  basis  stands  a  second  vase  with  flaring 
sides  and  high  base.  It  has  a  bail-handle  at  the  top,  and  U-shaped 
handles  with  projecting  ornament  on  the  lower  part  of  the  body,  one 
on  each  side.  The  vase  is  of  dark  color,  like  that  which  precedes, 
with  two  stripes  of  white  around  the  center  and  two  around  the  lower 
part.&-  Against  the  back  of  the  vase  is  tilted  a  palm  branch,  the  leafy 
part  upwards.  A  brown  and  white  ribbon  is  attached  to  the  stem. 

The  third  vase,  which  stands  at  some  distance  to  the  right,  is  shaped 
somewhat  like  the  vase  first  described,  but  the  shoulder  is  steeper,  and 
the  neck  and  mouth  narrower.  The  base  is  not  well  preserved.  At 
the  top  there  is  a  bail -handle.  At  the  beginning  of  the  shoulder  there 
are  very  probable  traces  of  U-shaped  handles.  The  brown  left  handle, 
which  has  a  long  recurved  ornament  on  the  outer  side,  runs  to  a  pointed 

1  Cf.  jar  with  serpent  on  one  side  and  human  mask  on  the  other  side,  but  lower  down,  represented 
in  a  fresco  from  Pompeii.  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  iii,  plate  50. 

1  For  other  examples  of  palm  branch  leaning  against  vase  cf.  Roux,  op.  cit.  Vol.  i,  plate  20  (pitcher) , 
iv.  115  (bowl),  v.  37  (jar),  all  representations  in  fresco. 

1  With  this  vase  cf.  the  suspended  crater,  Roux,  op.  cit.  Vol.  iii,  plate  139  (painted  panel). 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  167 

end  above  the  top  of  the  vase.  The  right  handle  is  white  and  slightly 
lower.  The  vase  is  drawn  only  in  outline,  chiefly  white  but  with  some 
brown  lines,  especially  on  the  left  side,  for  shading.  About  the  center 
there  is,  as  in  the  others,  a  double  white  line.  Against  the  front  of  the 
vase  a  palm-branch  leans,  the  leafy  part  downwards.  There  seems  to 
have  been  a  festoon  about  the  stem. 

Between  the  second  and  third  vases  there  is  a  poorly  preserved 
four  sided  white  object,  which  does  not  reach  to  the  basis,  and  is  proba- 
bly to  be  regarded  as  a  mat  lying  farther  back  in  the  room  (or  whatever 
the  space  assumed  may  be).  On  this  mat  stands  the  outline  of  a  tableP  **c  • 
with  three  straight  legs  drawn  in  white  with  brown  shading.  Above 
the  table  there  is  a  white  ring  with  triangular  tail-piece,  on  which  there 
is  brown  shading.  The  object  is  probably  a  wreath  conceived  as 
hanging  on  a  wall. 

At  the  right  end,  in  the  .rear  of  the  third  vase,  there  are  traces  which 
probably  belong  to  a  second  table  with  oblong  top.  It  probably  had  two 
legs  at  each  end,  but  of  them  only  slight  vestiges  remain.  On  the 
extreme  right  end  of  the  table  an  object  resembling  a  cup  with  handle 
is  sketched.  In  the  foreground,  at  the  extreme  right,  there  are  lines 
in  brown  and  white,  perhaps  intended  to  suggest  a  wine-skin. 

The  palm  branches  are  perhaps  for  lustration.®   An  unsupported 
rectangular  slab  is  used  as  basis  in  a  central  panel  from  the  House  of 
Argus  and  lo  in  Herculaneum^    A  possible  place  for  the  compartment  /T.   2T,  \t'>»  tC 
is  suggested  by  the  employment  of  similarly  framed  pieces  in  the 
middle  of  the  right  and  left  edges  of  the  side  panels  of  a  wall  in  the  Casa  Z.  IT,  *,  9^" 
della  Seconda  Fontana  di  Musaico,® Pompeii  (Fourth  Style). 

Height,  m.  0.215  (  =  8.46  in.).    Width,  m.  0.43  (  =  i  ft.  4.92  in.). 

The  fresco  is  in  fairly  good  condition,  though  it  is  worn  in  places  and  there  are 
numerous  small  abrasions,  particularly  in  the  red  paint. 

After  the  yellow,  the  red  was  applied,  then  the  brownish  black  of  the  vases.  The 
palms  were  painted  after  the  vases. 


FRESCO.    24654.     [PLATE  CXXVI.] 

Small  decorative  compartment  containing  an  interior  with  a  window. 

The  border,  which  enclosed  the  compartment  on  all  sides,  is  partly 
hidden  by  the  wooden  frame  in  which  the  piece  is  at  present  preserved. 
The  dark  brownish  red  inner  edge  may,  however,  be  seen  all  the  way 

1  Similar  table,  but  with  brace  between  the  legs,  on  greave  from  Pompeii,  Nicolini,  Casa  dei  Cladi- 
atori,  plate  v.  No.  8. 

1  Cf.  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  i,  plate  89  (Pompeii),  Fourth  Style  house  with  rec- 
tangular panels  in  right  and  left  corners  of  the  dado,  where  a  branch  represented  with  one  of  the  vases 
seems  to  serve  such  a  purpose. 

»  Zahn,  op.  cit.  Vol.  ii,  plate  66. 

«  Zahn,  op.  cit.  Vol.  ii,  plate  95. 


1 68      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

around,  while  at  the  top  and  on  the  left  side  there  are  numerous  traces 
of  a  wider  band  of  the  same  color,  painted  over  yellow  ochre.  The 
difference  in  the  preservation  of  the  inner  and  outer  parts  of  the  border 
may  possibly  be  due  to  the  fact  that  the  former  was  painted  over  the 
dark  brown  of  the  interior. 

Within  the  border  the  most  clearly  defined  portion  of  the  composition 
is  the  window  in  the  upper  right  corner.  There  is  a  wide  and  deep  white 
sill.  The  profile  of  the  thick  side-wall  on  the  left  is  reddish  brown  in 
color,  with  an  inner  edge  of  dark  brownish  red.  The  entire  field  of 
vision  disclosed  by  the  window  is  blue.  On  the  window-sill  there  is 
a  heap  of  objects  of  somewhat  uncertain  character  lying  on  an  elliptical 
drab  mat.  The  following  is  an  enumeration  of  them: 

2  large  brown  platters  with  sloping  sides. 

3  yellow  objects,  probably  gourds. 

1  tall  slender  brown  jug  lying  on  its  side. 

2  brown  staves 'lying  crossed  on  top  of  the  preceding  objects.     They  seem  to 

be  made  of  grapevine,  which  is  untwisted  at  one  end. 
2  brown  objects  hanging  from  near  opposite  ends  of  one  of  the  staves,  perhaps 

the  bodies  or  skins  of  small  animals  (not  hares),  perhaps  sausages. 
I  large  pine  cone. 

1  grayish  object  resembling  a  fungus. 

2  wreaths,  consisting  of  hoop  and  straight  end,  in  brownish  white.    They  hang 

over  the  edge  of  the  sill. 

Several  plants  with  tall  slender  whitish  leaves.  Some  of  them  rise  above  the 
heap,  others  hang  over  the  inner  edge  of  the  sill. 

Beneath  the  window  there  is  a  rather  broad  ledge  or  floor  which  is 
white  in  the  foreground,  brownish  red  at  the  left  end  and  light  brown 
at  the  back,  where  it  is  not  very  clearly  distinguished  from  the  front 
upright  wall.  On  this  floor  there  are  several  objects.  At  the  left  a 
large  whitish  and  greenish  gray  bird,  perhaps  a  female  pheasant,  seems 
to  be  sitting  on  a  sort  of  nest.  Next  to  her  on  the  right  there  is  a  cor- 
responding male  bird  painted  in  a  variety  of  colors.  The  head  (except 
the  comb),  the  back  of  the  neck,  the  lower  part  of  the  wing  and  the 
under  tail  feathers  are  yellow.  The  comb  and  breast  are  reddish  brown; 
most  of  the  tail,  as  well  as  a  line  along  the  back,  is  in  blue.  The  central 
part  of  the  wing  is  red  with  light  brown  spots.  In  the  foreground  there 
are  two  staves  like  those  in  the  window-sill,  and  the  spiral  end  of  a  third. 
At  the  left  end  of  the  white  part  of  the  floor  there  is  a  reddish  brown 
platter,  somewhat  larger  than  those  described  above,  tilted  against  the 
wall.  At  the  right  of  the  male  bird  there  is  an  uncertain  object  in  red- 
dish brown,  perhaps  a  vase.  In  the  extreme  right  corner  of  the  floor 
there  is  a  reddish  brown  pitcher  with  base,  handle  and  long  curved  beak, 
lying  on  its  side.  The  left  end-wall  of  the  room  is  brown  like  the  front 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  169 

wall  and  but  faintly  distinguished  from  it.  At  the  bottom  of  the  com- 
partment there  is  a  rather  broad  horizontal  brownish  drab  stripe  rep- 
resenting the  edge  of  the  thick  floor. 

A  very  similar  picture  occurs  at  the  bottom  of  the  attica  in  a  Pom- 
peian  fresco  of  the  Fourth  Styled  The  chief  difference  is  that  in  the 
window  there  are  two  bowls,  and  on  the  floor  a 


Height,  m.  0.37  (  =  r  ft.  2.56  in.).    Width,  m.  0.373  (~l  ft.  2-68  in.). 

The  colors  are  somewhat  faded  and  in  many  places  are  abraded,  usually  so, 
however,  as  not  to  interfere  seriously  with  the  design. 

A  coat  of  yellow  ochre  was  first  applied  to  the  entire  surface.  The  browns  of 
the  interior  were  next  laid  on.  Then  came  the  white  of  floor  and  sill  followed  by  the 
drab  mat  preceding  the  reddish  browns,  and  after  them  the  other  colors.  The 
border  was  put  on,  or  at  least  finished,  after  the  interior.  In  the  reddish  browns  there 
are  frequent  differences  of  tone,  which  are  due  partly  to  unequal  thickness,  and 
partly  to  the  effort  to  represent  the  play  of  light  on  some  of  the  surfaces. 


FRESCO.     24647.     [PLATE  CXXV.] 

Decorative  figure  of  winged  male  sphinx  on  yellow  background. 
The  monster  is  represented  as  flying  upward  to  right.  He  has  the  body 
of  a  lion,  with  outspread  carelessly  drawn  legs  and  long  tail,  the  end  of 
which  is  curved  back.  The  right  wing,  which  is  extended  to  its  full 
length,  has  the  end  recurved.  Of  the  left  wing  only  the  upper  part 
appears.  It  is  scantily  drawn,  and  resembles  a  piece  of  drapery. 
About  the  neck  there  is  a  wide  collar  perhaps  meant  for  a  conventional 
mane.  On  the  head  there  is  a  sort  of  cap  with  plumes  which  curve 
forward  and  extend  from  neck  to  front.  The  retreating  forehead  is 
deeply  lined.  He  has  high  eyebrows,  smooth  upper  lip  and  wedge- 
shaped  beard.  The  face  expresses  intelligence  and  energy. 

The  figure  is  for  the  most  part  of  a  greenish  gray  color,  which  takes 
on  a  reddish  tinge  toward  the  ends  of  the  wings.  There  are  some  lines 
of  black  on  the  right  wing,  the  lower  part  of  the  body  and  the  legs.  The 
light  is  represented  as  falling  on  the  figure  from  the  right  side  of  the 
front,  and  the  parts  so  touched,  particularly  the  forehead,  the  shoulder, 
the  wing  and  the  back  just  behind  the  wing,  are  flaked  with  whiteC^ 

Height,  m.  0.32  (  =  12.59  m-)-    Width,  m.  0.317  (  =  12.48  in.). 

The  piece  is  in  good  condition,  but  there  are  breaks  in  the  upper  left  corner  and 
at  the  left  end  of  the  under  side.  There  are  small  cracks  in  the  right  side.  The 
yellow  of  the  background  is  somewhat  streaked. 

The  left,  right  and  upper  edges  are  somewhat  incrusted  and  discolored. 

1  Zahn,  Die  schoenslen  Ornamente,  etc.  Vol.  iii,  plate  96. 

*  Cf.  Roux,  Herculanum  et  Pompii,  Vol.  ii,  plate  20,  for  a  somewhat  different  window  picture. 
3  Similar  bearded  sphinxes,  but  in  crouching  position,  are  represented  on  two  frescoes  published  by 
Roux,  op.  cit.  Vol.  iii,  plate  132;  cf.  ibid.  ii.  34,  and  Nicolini,  Descriz.  Generate,  plate  i. 


170       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

FRESCO.     24646.     [PLATE  CXXV.] 

Decorative  figure  of  winged  male  sphinx  on.  yellow  background. 
The  design  is  very  similar  to  that  of  the  preceding  fresco  (No.  24647), 
but  is  less  well  preserved.  The  following  details  may  be  mentioned. 
As  at  present  installed,  the  figure  is  somewhat  more  nearly  horizontal 
than  the  other,  an  arrangement  which  is  borne  out  by  the  position  of 
the  legs.  There  are  some  other  slight  differences,  e.g.  the  right  front 
leg  is  less  rigid,  the  left  front  leg  is  raised  higher  and  is  more  fore- 
shortened, the  ends  of  the  wings  are  less  clear  in  outline,  and  the  lines 
of  the  face  are  less  sharply  defined.  The  light  comes  from  the  same 
direction. 

Height,  m.  0.31  (  =  12.20  in.).    Width,  m.  0.311  (  =  12.24  m-)- 
The  plaster  is  cracked  on  the  left  side,  at  the  top  in  the  upper  right  corner,  and 
diagonally  across  the  upper  left  corner  through  the  tip  of  the  right  wing.     There 
are  abrasions,  particularly  in  the  forehead,  wings,  hind  legs  and  tail.     The  yellow 
of  the  background  is  much  streaked  and  discolored., 

The  upper,  lower  and  left  edges  show  incrustation  and  discoloration,  proceeding 
perhaps  from  a  previous  frame.  On  the  lower  side  the  upper  edge  of  this  discolora- 
tion is  marked  by  a  fine  black  line. 


FRESCO.   24649.     [PLATE  CXXIV.] 

Decorative  figure  of  winged  beardless  sphinx  on  yellow  background. 
The  composite  creature  is  depicted  as  flying  upward  to  the  left.  It  has 
the  body  of  a  lion  with  outspread  legs  and  curved  tail,  as  in  the  case  of 
the  bearded  sphinxes,  but  the  inner  hind  leg  is  less  contracted.  The 
front  legs  are  straight,  the  right  leg  being  much  foreshortened.  The 
left  wing,  which  is  fully  extended,  probably  had  recurved  tip.  The  right 
wing  rises  to  the  highest  part  of  the  design.  It  is  not  treated  with  es- 
pecial regard  to  its  structure,  and  resembles  rather  a  piece  of  drapery. 
Of  the  cap  scarcely  more  than  the  plumed  crest  now  remains,  but  it 
seems  to  be  continued  in  a  mane-like  collar  about  the  neck.  The  face 
forms  nearly  a  right  angle,  with  the  nose  as  apex.  The  eye  is  probably 
indicated,  but  the  details  are  not  clear.  The  mouth  is  wide  open;  there 
is  scarcely  any  chin. 

Except  for  the  lack  of  beard  there  is  no  indication  of  sex. 

The  color  is  chiefly  greenish  gray.  There  is  a  black  stripe  down  the 
middle  of  the  back  and  on  the  tail,  as  well  as  on.  the  inside  of  the  right 
hind  leg.  The  light  fell  from  the  left  side  of  the  front,  and  appears  par- 
ticularly on  the  head,  the  shoulder  and  the  left  front  leg. 

Height,  m.  0.31  (  =  12.20  in.).    Width,  m.  0.305  (  =  12  in.). 

The  plaster  is  cracked,  more  especially  on  the  lower  and  right  sides,  and  in  the 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  171 

upper  left  corner  through  the  head  of  the  figure.  There  are  numerous  abrasions. 
The  background  is  a  dark  yellow,  whether  originally  or  through  discoloration  is 
uncertain.  Possible  traces  of  previous  framing  appear  on  the  lower  and  right  edges. 


FRESCO.     24648.     [PLATE  CXXIV.j 

Decorative  figure  of  winged  beardless  sphinx  on  yellow  background. 

The  design  is  very  similar  to  that  of  the  preceding  fresco  (No.  24649), 
but  is  much  less  well  preserved.  Noteworthy  details  are  the  traces  of 
the  crested  cap  and  of  the  eye,  the  upper  line  of  which  is  visible. 

There  is  a  black  stripe  along  the  back,  and  on  the  tail  and  the  left 
hind  leg.  The  light-flecks  have  disappeared,  excepting  one  on  the  back, 
just  behind  the  wings. 

Height,  m.  0.31  (  —  12.2  in.).    Width  same. 

The  plaster  is  cracked  about  the  under,  upper  and  left  sides.  The  design  is 
much  abraded,  especially  the  head,  which  lacks  the  lower  part  of  the  face,  the 
shoulder,  the  wings,  the  left  front  foot  and  the  end  of  the  tail.  The  yellow  of  the 
background  preserves,  in  part,  the  original  medium  light  shade,  as  in  No.  24647, 
but  the  color  has  become  still  lighter  in  many  places.  There  is  probable  trace  of 
previous  framing  on  the  under  side. 

FRESCO.    24658.     [PLATE  CXXIIL] 

Sacrificial  scene  and  serpent  from  a  domestic  shrine,  which  probably 
belonged  to  the  villa  discovered  in  1897  in  the  Piazza  del  Mercato  of 
the  village  of  Boscoreale^  The  upper  part  of  the  painted  surface  is 
occupied  by  the  scene  of  sacrifice,  which  is  depicted  as  taking  place  out 
of  doors.  A  little  to  the  right  of  the  center  of  a  heavy  base-line  there 
is  an  altar  of  a  dark  red  marble  containing  large  and  small  yellowish 
spots.  The  altar  has  a  molded  base  and  a  wide  cornice.  On  the  upper 
surface  a  red  fire  burns  with  a  whitish  smoke.  Close  to  the  altar  at 
either  side  there  is  a  small  slender  green  tree. 

At  the  right  of  the  altar  a  tall  male  figure  clad  in  a  toga  which  may 
possibly  be  drawn  up  over  his  head,  extends  his  right  hand  over  the  fire. 
His  left  arm  is  bent  at  the  elbow,  the  forearm  being  brought  forward 
with  the  open  hand  held  near  the  body.  The  feet  do  not  show  owing  to 
a  patch  in  the  plaster.  He  has  a  sinewy  neck  and  a  sharply  retreating 
chin.  Near  the  short  dark  brown  hair  there  are  traces  of  a  green  wreath. 

1  Notiz.  degli  Scavi,  1898,  p.  42 1  (Sogliano) :  '  'Al  di  spttp  della  nicchietta  e  dipinto,  fra  due  alberetti, 
1'altare  ardente,  sul  quale  fanno  libazioni  il  genius  familiaris  a  dritta,  vestito  di  toga  bianca  e  col  capo 
velato  e  a  sinistra  la  iuno,  vestita  anche  di  bianco  e  col  capo  del  pan  velato.  Dietro  il  genius  stanno  un 
camillo,  in  parte  dannegiato,  con  la  benda  nella  destra  e  un  altra  figura  irriconoscibile;  e  dietro  la  iuno 
un  altro  camillo  avente  nella  dritta  le  bende  e  nella  sinistra  un  piatto  con  le  offerte,  e  il  tibicen  in  atto  di 
suonare  la  doppia  tibia.  Al  di  sotto,  il  serpente  agatodemone."  The  doubt  as  to  whether  the  heads 
of  the  principal  figures  are  covered  and  the  omission  of  the  plate  carried  by  the  camillus  on  the  right  are 
slight  discrepancies  which  count  for  little  against  the  agreement  of  the  other  details  and  the  fact  that 
no  such  fresco  is  mentioned  in  the  reports  of  the  excavations  of  the  treasure  villa. 


172       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  flesh  parts  are  light  brown;  the  garment  is  whitish.  There  are 
outlines  of  relatively  darker  colors  about  some  of  the  flesh  parts  and  the 
toga.  Next  on  the  right  is  a  boy,  turned  slightly  to  left.  He  wears  a 
whitish  tunic  extending  as  far  as  the  knees.  The  legs  from  the  knees 
downward,  as  well  as  the  feet,  are  very  faint  and  perhaps  not  ancient. 
To  the  lower  right  forearm,  which  hangs  obliquely  downward,  a  ribbon 
is  attached.  It  falls  in  two  streamers  with  forked  ends  nearly  to  the 
ground.  In  his  left  hand,  which,  together  with  the  left  arm,  is  scarcely 
visible  owing  to  repairs,  the  boy  holds  a  dark  brown  platter  up  to  the 
level  of  his  chin.  On  the  platter  there  is  a  grayish  substance  of  uncer- 
tain character.  The  boy  has  short  dark  brown  hair,  in  which  there  are 
traces  of  a  green  wreath.  The  drooping  eyelids  indicate  that  his  gaze 
is  fixed  on  the  platter.  The  flesh  is  light  brown  with  a  faint  pink  tinge. 
At  the  extreme  right  there  are  slight  remains  of  a  larger  figure,  doubtless 
male,  walking  to  left.  The  parts  which  are  most  easily  distinguish- 
able are  the  right  side  of  the  back  of  the  calf  of  a  leg  and  a  foot,  all  in  red- 
dish brown.  He  seems  to  have  white  drapery  about  the  middle. 

At  the  left  of  the  altar  stands  a  figure  with  wide  hips  and  of  stature 
somewhat  inferior  to  that  of  the  man  opposite.  It  is  clad  in  a  whitish 
upper  garment  reaching,  probably,  from  the  top  of  the  head  to  the  middle 
of  the  shin.  From  there  to  the  feet  there  seems  to  be  a  yellowish  under- 
garment or  tunic.  The  brown  feet  are  turned  to  the  right.  It  is  not 
certain  whether  they  are  shod.  The  right  arm  is  completely  covered 
by  the  upper  garment;  the  hand  is  indistinct.  The  left  arm  is  bare  from 
above  the  elbow.  On  the  wrist  there  is  a  bit  of  pink  which  probably 
represents  a  metal  bracelet.  The  hand  is  extended  over  the  altar.  The 
head,  which  is  partly  turned  to  the  left,  is  crowned  with  rather  plentiful 
dark  brown  hair.  There  are  very  faint  traces  of  a  green  wreath.  Eyes 
and  nose  are  now  indistinct.  The  wide  mouth  is  slightly  open,  showing 
the  teeth.  The  face  is  considerably  lighter  colored  than  that  of  the 
man.  Wide  brown  lines  are  used  to  indicate  contours  as  well  as  the 
folds  of  the  upper  garment.  The  figure  doubtless  represents  a  woman. 
Close  to  her  on  the  left  is  a  boy  wearing  a  tunic  which  reaches  about  to 
the  knees.  The  legs  below  the  garment  are  sketchily  drawn  and  poorly 
preserved,  and  the  feet  are  scarcely  distinguishable.  From  the  lower 
right  forearm  hang  ribbons.  The  left  arm  supports  a  large  dark  brown 
platter  on  which  there  are  some  objects  of  uncertain  character,  chiefly 
of  brownish  color.  About  the  boy's  dark  brown  hair  there  are  traces 
of  a  green  wreath.  His  face,  which  is  almost  in  profile,  is  similar  in 
color  to  that  of  the  woman.  Eye,  nose  and  mouth  are  still  visible. 
At  the  left  of  this  figure  there  follows,  after  a  certain  interspace,  a  youth 
who  is  playing  the  double  flutes.  He  is  clad  in  a  single  whitish  garment 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  173 

which  reaches  from  the  neck  to  the  ankle.  The  pipes  on  which  he  is 
playing  are  dark  brown  in  color.  The  musician's  rather  long  head  is 
covered  with  scanty  brown  hair,  about  which  there  are  traces  of  a  wide 
green  wreath.  He  has  a  slanting  forehead,  thick  lips  and  a  retreating 
chin.  Eye,  nose  and  mouth  are  preserved. 

The  lower  part  of  the  piece  contains  only  a  large  crested  serpent 
represented  as  moving  to  right.  His  back,  which  has  a  scalloped  out- 
line, is  brownish  red.  The  under  side  is  yellow  with  dark  brown  stripes 
as  far  as  the  neck,  which  with  the  greater  part  of  the  head  is  brownish 
red.  The  crest  is,  with  the  exception  of  two  large  white  spots,  of  a  bright 
red  color.  From  the  mouth  which  is  slightly  open,  the  bright  red  tongue 
darts  obliquely  downward.  Above  and  below  the  serpent  there  are 
in  each  scallop  traces  of  a  large  green  plant,  in  shape  somewhat  like  a 
fleur-de-lis. 

A  similar,  but  apparently  less  complete  representation  of  the  same 
subject  was  found  in  another  villa  near  Boscoreale.&  In  a  picture  in  the 
House  of  the  Vettii  at  Pompeii  the  Genius,  holding  a  patera  and  the 
incense-box,  stands  in  the  center  with  a  Lar  at  either  side.  The  altar 
and  the  serpent  are  in  the  zone  beneath^  Compare  also  the  shrines 
in  the  Pompeian  houses,  Regio  V,  Insula  iv,  No.  3,  in  which  the  sacri- 
ficing figures,  corresponding  to  the  usual  luno  and  Genius,  have  the 
form  of  Minerva  and  Hercules,®  and  Regio  VI,  Ins.  xv,  in  which  the  IL,X 
Genius,  who  holds  a  golden  cornucopia  in  his  left  hand,  and  with  the 
other  pours  on  an  altar  from  a  golden  patera,  has  the  features  of  Nero@  fiAt  i 
With  the  camilli  cf .  the  youth  with  pitcher  and  metal  basin  on  the  Ara 
Pads.5 

Height,  m.  0.65  (  =  2  ft.  1.59  in.).    Width,  m.  1.118  (=3  ft.  8.01  in.). 

Restoration  of  plaster  in  corners  and  on  right  side,  especially  between  main 
scene  and  serpent.  There  are  cracks  in  every  part,  particularly  around  the  edges. 
The  background  is  now  mostly  of  a  whitish  color,  streaked  and  blotched  in  many 
places,  especially  in  the  upper  part,  to  yellow  and  brown.  The  garments  are  of 
substantially  the  same  color  as  the  background,  but  are  distinguished  from  it  by 
their  outlines.  Nearly  all  the  lower  part  and  most  of  the  right  end  after  the  camillus 
form  a  large  corner  of  somewhat  darker  color  (except  where  restored),  as  though 
smoked. 


la 
ficar 

Mau,  Roem.  Mitteil.  XI  (1896),  p.  29. 

3  Notiz.  degli  Scavi,  1899,  p.  340  (Sogliano). 

<  Mau.  Roem.  Mitteil.  XIII  (1898).  p.  S3- 

5  Petersen,  Ara  Pads  Augustae,  plate  III,  viii.  =     Strong,  Roman  Sculpture,  plate  IX,  2. 


174      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

FRESCO.     24671.    [PLATE  CXXVIL] 

Mural  decoration  of  painted  plaster,  surmounted  by  a  stucco  cornice. 
From  the  villa  in  which  Nos.  24669,  24670  were  found. 

The  principal  design  of  the  painted  surface  consists  of  two  rectangu- 
lar compartments,  upper  and  lower,  the  former  on  white  and  yellow 
ground,  the  latter  on  red  ground.  They  are  connected  by  a  tall  cande- 
labrum in  the  center.  The  background  which  surrounds  them  is  yellow. 

The  lower  compartment  is  bounded  on  either  side  by  an  Ionic  col- 
umn, the  flu  tings  of  which  are  drab,  the  high  parts  a  lighter  shade  of 
the  same  color.  It  is  uncertain  whether  they  had  bases.  The  capitals 
are  each  surmounted  by  a  profiled  block  like  the  end  of  an  architrave. 
The  space  between  the  columns  is  contracted  by  grayish  green  vertical 
bands,  edged  with  white,  one  at  either  side.  They  are  connected  with 
the  columns  at  the  top  by  horizontal  bands  of  the  same  color,  except 
that  the  edging  of  the  upper  side  is  black,  and  below  the  center  by  simi- 
lar bands  with  white  edging,  two  on  either  side.  Above  the  panels 
thus  formed  and  extending  across  the  intervening  space  is  a  drab  band, 
which  is  bordered  by  darker  lines  beneath  and  a  white  line  on  the  upper 
side.  Next  follow  two  bands  of  violet  and  drab  with  a  red  stripe  between 
them.  Opposite  the  uppermost  band  there  is  over  either  column  a 
rosette  poorly  preserved. 

Just  outside  the  columns  there  is  on  either  side  a  vertical  grayish 
green  band  which  is  joined  at  the  top  by  a  similar  horizontal  band. 
This  border  which,  if  continued,  would  enclose  large  rectangular  panels, 
has  an  edging  of  black  on  the  outside  and  of  white  on  the  inside.  Within 
the  panels  there  is  a  narrow  dark  red  stripe  with  white  edges,  which 
parallels  the  outer  border.1  Above  the  upper  border  there  is  at  either 
side  a  drab  band  which  has  a  red  stripe  near  each  edge  and,  between  the 
stripes,  an  indistinct  design  in  dark  red.  It  is  followed  by  a  somewhat 
narrower  band  of  dark  red.  These  bands  join  those  which  lie  above  the 
lower  compartment,  and  with  them  form  the  substratum  of  the  basis 
of  the  upper  part  of  the  design. 

The  immediate  basis  of  the  upper  compartment  consists  of  two 
elevations  of  reddish  drab  color  with  a  dark  red  stripe  on  top,  together 
with  a  grayish  green  stripe,  which  extends  over  them  and  across  the 
intervening  space.  The  elevations  are  in  the  axes  of  the  above  men- 
tioned Ionic  columns.  The  bands  which  enclose  the  compartment  at 
sides  and  top  are  of  greenish  gray  trimmed  with  white.  The  interior 
is  divided  by  a  narrow  dark  red  stripe  with  white  upper  edge  into  two 

1  The  discontinuation  of  the  left  stripe  near  the  bottom  and  the  change  of  alignment  seen  in  the 
other  are  evidently  due  to  the  repair  and  the  resetting  of  plaster. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  175 

parts,  the  lower  part,  with  white  ground,  having  the  shape  of  the  gable- 
end  of  a  building  crowned  by  an  anthemion  in  very  light  yellow;  the 
upper  part,  with  yellow  ground,  occupying  the  remainder  of  the  space. 
The  lower  part  is  decorated  with  pieces  of  architecture  consisting  of  a 
large  bluish  gray  rectangular  frame,  the  top  of  which  supports  at  the 
corners  the  end  of  an  Ionic  entablature  coming  from  either  side.  This 
entablature  forms  at  the  outer  ends  an  angle  with  a  similar  section 
which  projects  into  the  foreground.  The  entablature,  which  is  of  drab 
color  excepting  the  frieze,  which  is  purplish,  has  two  brownish  yellow 
anthemia  at  each  end.  Beneath  the  nearer  end  of  the  second  section 
and  beneath  the  angle  where  the  sections  meet  there  is  an  unfluted  Ionic 
column.  The  columns  which  are  in  the  foreground  rest  on  the  low 
elevations  previously  mentioned.  The  effect  produced  by  the  white 
ground  with  its  decorations  is  that  of  a  vista. 

Adjoining  the  upper  compartment  on  either  side  a  broad  horizontal 
band,  which  is  made  up  of  alternate  stripes  of  dark  red  and  light  yellow, 

together  with  one  or  more  grayish  stripes,  extends  to  the  edge  of  the 

1  Z'1  ,**  ,$1 

plaster. 

In  the  axis  of  both  compartments  rises  a  candelabrum  of  conven- 
tionalized vegetable  form.  The  shaft  is  composed  of  about  ten  sections 
interspersed  with  discs.  At  the  top  there  is  a  rayed  fan-like  concave 
disc  placed  vertically.  The  shaft  is  yellow  with  numerous  bits  of  a 
whitish  tint,  which  serve  to  indicate  where  the  light  falls.  The  vertical 
disc  has  concentric  circles  of  yellow,  yellowish  white  and  a  dark  color. 

The  cornice,  which  is  mostly  reset,  consists  of  an  oblique  surface 
between  two  perpendicular  bands.  The  uppermost  band  is  plain, 
though  it  is  doubtful  if  any  of  the  original  surface  is  preserved;  the  other 
two  are  profiled. 

This  fresco  shows  the  influence  of  the  Third  Style  in  the  absence  of 
an  architectural  scheme  in  the  principal  design,  the  Ionic  columns  of  the 
lower  compartment  and  the  painted  bands  being  purely  decorative, 
while  the  bits  of  architecture  are  confined  to  the  upper  compartment  cf.i\f-  ^  ,'7 
and  have  the  character  of  secondary  ornament.1 

Height,  to  top  of  cornice,  m.  2.10  (=6  ft.  10.67  in.).    Width,  m.  1.39  (=4  ft.        w 
6.72  in.).    Width  of  the  three  bands  of  the  cornice,  m.  0.05,  0.067,  0.03,  from  the 
lowest  upward. 

Small  pieces  of  plaster  are  missing  between  the  upper  and  lower  parts  and  from 
the  lower  compartment,  especially  near  the  bottom.  The  upper  compartment  is 
now,  owing  to  faulty  restoration,  set  a  little  farther  back  than  the  lower,  except  on 
the  right  edge.  The  surface  is  much  cracked,  and  there  are  many  abrasions. 

1  With  the  anthemia  cf.  Roux,  op.cit.Vol.  i,  plates  17  and  76.  For  the  candelabrum  see  ibid,  plate 
36,  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  i,  plate  39,  Vol.  ii,  plate  39,  and  cf.  Notisie  degli  Scavi,  A/SA  '« 
1897.  P-  393  (Villa  in  contrada  Giuliana):  "Nel  riquadro  centrale  della  zona  media  e  un  candelabra 
d'oro,  sonnontato  da  una  palla,  lumeggiato  con  bianco;"  1899,  p.  393  (Villa  at  Scafati  =  No.  viii. 
List.  p.  154) :  '  'decorazione  a  fondo  giallo  scompartito  da  pilastri  bianchi,  ornati  di  candelabri  con 
fogliami"  (Sogliano). 


176       FIELD  MUSEUM  or  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  bottom  is  much  discolored.  There  seem  to  be  some  differences  in  the 
grayish  green  tints,  but  they  are  probably  all  substantially  the  same.  In  the  lower 
part  the  yellow  was  applied  before  the  grayish  green  bands  and  before  the  columns. 
The  red  is  prior  to  the  bands  of  grayish  green  which  cross  it,  and  prior  to  the  can- 
delabrum. In  the  upper  part  the  yellow  and  the  white  were  put  on  before  the 
remainder  of  the  paint. 

About  one-fourth  of  the  surface  of  the  lowest  band  of  the  cornice  is  lacking,  and 
about  four-fifths  of  the  remainder. 


FRESCO.     24672.     [PLATE  CXXVIIL] 

Panel  with  architectural  decoration  on  black  ground.  From  the 
villa  in  which  Nos.  24669,  24670  were  found. 

About  the  top  and  left  side  there  is  a  border,  which  consists  of  a  white 
line  on  the  inside  followed  by  dark  red  and  brown  lines  with  traces  of 
white  toward  the  extreme  outer  edge.  No  border  is  now  visible  on  the 
right  side,  which  is  incomplete,  nor  on  the  lower  edge,  which  is  largely 
restored. 

The  design  consists  of  two  rectangular  pavilions  or  porches  connected 
by  an  arch,  the  whole  being  surmounted  by  a  garland,  which  is  suspended 
from  the  top  of  the  panel  and  is  attached  at  the  ends  to  either  side.  The 
pavilions,  which  are  in  the  Ionic  style,  occupy  the  lower  corners.  They 
have  whitish  and  yellow  columns,  dull  red  frieze  and  elaborate  yellow 
and  brownish  cornice.  The  architrave  is  yellow  on  the  outer  face, 
purplish  inside  and  grayish  on  the  under  side.  Dark  yellow  beams 
divide  the  ceiling  into  panels,  the  high  parts  of  which  are  colored  bluish 
gray,  the  deep  parts  brownish  red.  In  the  interior  of  the  pavilions 
there  are  unsupported  animal  figures  —  on  the  left  a  winged  lion  of 
grayish  yellow  color,  bearing  a  lotus-flower  on  his  head;  on  the  right 
an  indistinct  and  clumsy  winged  figure,  probably  a  bull,  only  a  few  bits 
of  which,  painted  a  grayish  white,  are  original,  while  the  remainder, 
which  is  of  a  reddish  color,  is  restored. 

The  roofs  of  the  pavilions  are  connected  by  a  broad  arched  band, 
the  bluish  color  of  which  probably  indicates  metal.  On  the  upper  edge 
there  are  wide  scallops,  each  of  which  terminates  in  a  conventionalized 
yellow  flower.  From  the  center  of  the  arch,  which  is  covered  by  a  sort 
of  shield,  rises  a  short  ornamented  standard  supporting  a  basket  or 
canister.  On  the  front  of  the  roof  rises  a  vegetable  scroll,  which  ends 
within  in  a  rosette.  At  the  left,  a  long  slender  feline  animal  stands  with 
one  fore  leg  on  the  scroll,  while  the  other  is  uplifted.  The  head  is 
turned  sharply  back.  On  the  right  there  is  a  corresponding  animal, 
perhaps  a  dog,  with  head  turned  partly  to  the  right  and  pointed  upward. 
Animals  and  scrolls  are  of  brownish  yellow  color. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  177 

Beneath  the  arch  there  is  a  rectangular  box,  the  front  of  which  has 
the  form  of  a  frame  with  crossed  ends.  The  outside  of  the  box  is 
colored  brownish  yellow  in  front  and  reddish  and  bluish  at  the  left  end; 
the  inside  appears  mainly  as  black  with  a  dark  red  stripe  above.  Within 
the  frame  are  seen  two  masks.  The  mask  on  the  left  has  plentiful  bluish 
gray  hair.  The  round  staring  eyes  and  open  mouth  give  to  the  pale 
face  an  expression  of  terror  and  suffering.  The  other  mask  has  yellowish 
hair.  Both  masks  are  beardless.  On  top  of  the  box  stands  a  tall 
slender  yellowish  vase  with  high  vertical  handles.  Beneath  the  box 
there  is  a  sort  of  bracket  ornamented  at  either  side  with  a  ball  and  disc. 
It  is  probably  conceived  to  be  of  metal. 

At  the  .top  of  the  fresco  there  is  a  garland  consisting  of  two  portions 
of  about  equal  length.  The  ends,  which  are  violet-colored  strings,  are 
fastened  to  the  sides  of  the  panel  and  the  lower  corners  of  an  oblong 
piece  of  some  red  substance,  like  cloth  or  leather,  the  lower  edge  of 
which  is  drawn  by  the  weight  into  concave  shape.  At  the  beginning 
of  the  leafy  part  on  each  side  there  is  a  violet  ribbon.  On  each  garland, 
near  the  middle,  stands  a  long-legged  bird,  of  grayish  color,  facing 
toward  the  center  of  the  panel. 

With  these  pavilions  compare  the  projecting  portico  from  Bosco- 
reale  published  by  Mau,  Roent.  Mitteil.  XVII  (1902),  p.  186,  fig.  i,  and 
a  similarly  placed  portico  with  broken  gable  from  the  Casa  del  Labirinto,  ^ 
Pompeii  P  For  the  arch  with  spiral  compare  the  examples  from  the 
V-  •  Casa  di  Sirico^  and  the  Casa  di  Giuseppe  II. ®  With  the  animals  on  the 
roofs  cf.  Roux,  op.  cit.  Vol.  I,  plate  20.  A  rectangular  frame  with  two 
masks,  Nicolini,  UArte  in  Pompei,  plate  4. 

Height,  m.  1.23  (=4  ft.  0.42  in.).    Width,  m.  1.99  (=6  ft.  6.34  in.). 

The  fresco  is  in  poor  condition.  The  plaster  is  much  cracked  and  probably  to 
a  considerable  extent  reset  in  the  upper  part,  and  is  in  many  places  reset  and  replaced 
in  the  lower  part.  In  front  of  the  right  pavilion  a  large  piece  of  plaster  is  scaled  to 
a  depth  of  about  one-fourth  of  an  inch.  The  edges  of  the  upper  layer  reveal  a  rather 
fine  grayish  plaster  to  which  the  black  paint  seems  to  have  been  directly  applied. 


FRESCO.     24673.    [PLATE  CXXIX.] 

Mural  decoration  of  painted  plaster.  From  the  villa  in  which  Nos. 
24669,  24670  were  found. 

The  designs,  which  consist  chiefly  of  fanciful  architectural  schemes 
on  a  red  ground,  are  bounded  at  the  top  by  a  white  line  near  the  upper 
edge  of  the  plaster,  but  are  probably  incomplete  on  the  right  side,  and 

1  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  ii.  plate  70. 
1  Nicolini,  op.  cit.  Vol.  i,  Casa  di  Sirica,  plate  2. 
'  Roux,  op.  cit.  Vol.  i,  plates  108,  106. 


178      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

may  have  been  somewhat  curtailed  on  the  left  side  and  on  the  bottom, 
where  they  reach  the  edges  without  seeming  to  be  finished. 

Two  groups  of  construction,  one  of  which,  on  the  right,  occupies 
about  one-fifth  of  the  available  space,  the  other  the  remainder,  are 
represented  as  erected  in  front  of  a  mural  surface  which  is  ornamented 
with  two  horizontal  bands.  The  lower  of  these  bands,  which  is  a  little 
above  the  middle  of  the  fresco,  is  decorated  with  a  repeated  pattern, 
which  consists  of  two  griffins  facing  each  other  at  either  side  of  a  con- 
ventional shrub  and  a  similar  but  somewhat  smaller  shrub,  which 
serves  as  a  connection  between  groups  and  is  united  with  the  larger 
shrub  by  means  of  the  tails  of  the  adjacent  griffins  and  a  flowered  vine 
running  beneath  them.  At  the  top  of  the  band  there  is  a  narrow 
border  suggesting  dentils.  The  color  of  this  band  was  a  yellow  ochre. 
The  second  band,  which  is  at  the  level  of  the  top  of  the  architecture, 
has  at  the  bottom  a  wide  stratum  from  which  rise  the  figures  of  a  re- 
peated pattern  consisting  of  a  bunch  of  conventionalized  plants  spring- 
ing from  a  dark  red  lyre-shaped  base,  which  is  crossed  in  the  center 
by  several  vertical  yellowish  line's  or  strings,  and  a  winged  head,  perhaps 
of  a  griffin,  surmounted  by  a  volute,  the  intervening  space  being  occupied 
by  two  scrolls.  Both  bands  are  alike  in  color.1 

The  structure  on  the  left  is  a  sort  of  two-story  arbor,  the  ground- 
plan  of  the  lower  part  being  an  oblong  with  rounded  ends.  Two  tall, 
whitish,  widely  separated  Corinthian  columns  are  connected  by  a  broad, 
horizontal,  bright  yellow  band,  which  joins  them  at  a  point  just  below 
the  capitals,  and  is  ornamented  with  narrow  horizontal  stripes  of  red 
and  brown.  The  space  thus  enclosed  is  ornamented  with  a  three-sided 
yellow  ochre  band  consisting  of  alternate  longer  and  shorter  panels  of 
which  the  former  contain  each  a  six-legged  stem,  the  latter  a  figure  like 
two  tridents  turned  in  opposite  directions.  From  either  corner  of  the 
upper  side  of  the  band  an  anthemion  projects  obliquely  forwards. 
The  two  streamers  which  hang  from  the  upper  horizontal  band  are 
probably  not  to  be  regarded  as  in  the  same  plane  with  the  three-sided 
band. 

To  the  columns  are  attached  the  rounded  ends  of  the  oblong  enclo- 
sure. They  consist  of  a  blue  wall  or  curtain  with  a  bright  yellow  band 
at  the  top.  On  the  right  side,  however,  next  to  the  column,  a  vertical 
stripe,  which  was  probably  yellow  originally  but  is  now  nearly  faded  out, 
was  painted  over  the  blue.  There  is  no  trace  of  a  corresponding  stripe 
on  the  left.  The  top  band,  which  is  ornamented  with  an  angular  mold- 
ing above  and  a  broad  cyma  reversa  beneath,  while  between  them  there 
are  bosses  in  repousst,  is  probably  conceived  to  be  of  metal.  At  the 

1  Owing  to  poor  preservation  now  chiefly  a  thin  mud-color. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  179 

back  it  seems  to  rest  on  top  of  the  columns  but  is  presumably  to  be 
thought  of  as  showing  above  them  from  behind.  On  these  ends  rest 
winged  figures  of  a  drab  color,  doubtless  griffins.1  Between  the  ends 
rises  a  band  resembling  the  cornice  of  a  gable,  which  forms  the  top  of 
the  back  part  of  the  enclosure.  Its  upper  border  of  circumscribed 
palmettes  is  colored  yellow  ochre;  the  remainder,  though  much  faded, 
shows  at  the  bottom  traces  of  chrome  green,  above  which  is  a  yellow 
line. 

The  upper  part  of  this  structure  is  a  ring  or  hoop  supported  by  four 
long  legs  which  rest  on  the  cross-piece  between  the  capitals.  The  two 
front  legs,  which  are  larger  than  the  others,  seem  to  be  constructed  of 
vertical  rods  with  openwork  between  them,  and  are  ornamented  on  the 
outer  edges  with  short  spurs  and  a  spray  of  tall  leaves  which  rise  from 
the  bottom.  The  other  legs,  which  are  round  and  about  half  as  large, 
have  Ionic  volutes  at  the  top,  and,  at  either  side  just  below  the  gable- 
band,  a  sort  of  projecting  ear  or  leaf.  At  the  bottom  there  are  low  bases 
underneath  all  the  legs,  and,  between  the  front  and  back  legs  at  either 
side,  an  ornamented  chrome  green  plaque,  probably  conceived  to  be  of 
bronze.  On  top  of  the  hoop,  above  the  smaller  legs,  repose  crouch- 
ing winged  figures,  which  probably  represent  sphinxes.  The  color 
of  the  upper  structure  was  probably  originally  for  the  most  part  yel- 
low. The  front  legs  show  traces  of  greenish  yellow. 

Of  the  horizontal  bands  which  ornament  the  wall-surface  the  lower 
was  painted  before  the  legs  of  the  upper  structure,  and  makes  no  allow- 
ance for  them;  the  upper,  which  is  at  the  right  of  the  hoop,  leaves  a 
space  for  it.  From  the  points  where  this  band  and  the  hoop  are  nearest 
together,  dark  red  stripes  with  edges  of  white  extend  upward  nearly  to 
the  top  of  the  fresco,  where  a  similar  slightly  arched  stripe  connects 
them.  The  idea  suggested  is  that  of  a  canopy  above  the  upper  structure. 

The  probability  that  the  right  side  of  the  fresco  is  incomplete  renders 
the  character  of  its  decoration  somewhat  uncertain.  In  the  lower  part 
of  the  field  an  entablature  with  greenish  white  architrave,  dark,  violet- 
colored  frieze  and  a  wide  cornice,  which  projects  at  the  left  end  as  far 
as  the  column  at  the  right  of  the  blue  apse,  is  supported  at  the  left  by 
a  slender,  greenish  white  Ionic  column,  and  at  the  right  by  a  column 
which  is  similar  except  that  it  is  thicker  and  perhaps  lacks  flutings. 
The  right  end  of  the  entablature  turns  backward  obliquely.  On  the 
frieze,  there  are  yellowish  ornaments,  one  of  which  is  a  spiral,  the  others 
indistinct.  Beneath  the  architrave,  at  the  right  of  the  second  column, 
there  is  a. greenish  object,  perhaps  a  curtain  or  lambrequin.  Above  this 

1  They  may  he  placed  here  rather  than  on  the  columns  intentionally  as  ornaments  of  the  back  part 
of  the  structure  and  not  through  carelessness  in  drawing. 


180       FIELD  MUSEUM  or  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

colonnade  in  the  drawing,  but  really  back  of  it,  there  is  a  similar  entab- 
lature. The  frieze  is  ornamented  with  the  figure  of  a  winged  lion, 
crouching,  left,  and  a  dolphin  with  head  downward,  both  in  yellow.  On 
top  of  the  cornice  there  is  at  the  left  end  a  large  decorative  volute  of 
greenish  color,  and  at  the  right  end  a  drab  colored  triangle  which  looks 
like  the  beginning  of  a  similar  ornament  or  of  a  pediment.  The  left 
end  of  the  entablature  rests  on  a  slender  whitish  unfluted  Ionic  column, 
which  reaches  to  the  bottom  of  the  plaster;  under  the  right  end  no  col- 
umn appears,  but  this  part  of  the  space  between  the  two  entablatures 
is  filled  in  with  greenish  gray  color,  the  left  edge  of  which  is  panelled, 
an  indication  that  this  end  of  the  colonnade  was  considered  as  solidly 
closed.  The  space  between  this  entablature  and  the  top  of  the  apse  is 
filled  with  a  greenish  band  or  plaque,  which  is  ornamented  with  horizon- 
tal yellow  lines  in  the  lower  part  and  with  a  braid  pattern  in  the  upper 
part,  while  the  top  edge  is  of  open  work.  Color  and  technique  indicate 
that  the  band  is  supposed  to  be  of  bronze.  At  the  left  end  it  touches 
a  slender  yellow  column,  but  is  not  supported  by  it.  This  column, 
which  has  the  form  of  a  vegetable  stalk  with  leaves  sprouting  from  the 
side  and  a  disc  near  the  lower  end,  extends  from  the  bottom  of  the  plas- 
ter contiguously  with  the  apse  to  the  top  of  the  bronze  band,  where  it 
spreads  into  a  sort  of  capital,  upon  which  rested  a  slender  Ionic  column 
belonging  to  the  roof  of  the  structure  above.1 

The  structure  just  mentioned  which  decorates  the  upper  part  of  the 
right  field  is  a  sort  of  pavilion,  consisting  of  a  roof  supported  by  columns. 
Of  the  ridge-pole  and  eaves  only  the  incised  lines,  which  served  as  a 
guide  for  the  painter,  together  with  some  mud-colored  traces  and  bits 
of  brownish  yellow,  remain.  The  side  of  the  roof  is  represented  by  a 
broad  band  at  the  left,  having  the  form  of  a  double  curve  (inverted 
cyma  reversa),  and  a  similar  band  at  the  right.  On  both  bands  only 
scanty  traces  of  paint  remain.  From  above  the  lower  front  corner  of 
the  roof  a  sort  of  acroterion  projects  obliquely  upward,  and  from  the 
front  of  the  ridgepole  a  sort  of  anthemion  resembling  a  bunch  of  grass, 
projects  forward  horizontally.  At  the  same  end  of  the  ridgepole  there 
is  an  upright  ornament  consisting  of  a  sort  of  bulb  or  pod  bisected 
vertically  by  a  line  which  ends  above  the  top  in  an  over-hanging  flower 
with  thickened  stem.  The  outside  of  the  bulb  is  dark  red  with  whitish 
edges.  The  interior  is  the  red  of  the  background.  The  roof  is  sup- 
ported by  three  columns,  one  of  which,  beneath  the  front,  has  been 
mentioned  above  as  resting  on  the  top  of  the  vegetable  column  at  the 
right  of  the  apse ;  another  is  a  plain  slender  Ionic  column  extending  from 

1  Of  the  lower  end  of  this  column  which  passed  in  front  of  the  top  of  the  apse  only  faint  outlines 
remain. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  181 

the  front  of  the  ridgepole  to  the  top  of  the  rear  colonnade,  behind  which 
it  is  probably  supposed  to  pass.  The  third  column,  which  is  heavier 
and  perhaps  fluted,  supports  the  lower  right  corner  of  the  roof,  and  was 
also  probably  thought  to  pass  behind  the  colonnades. 

Whether  this  pavilion  is  a  second  story  above  the  colonnades,  or 
is  a  separate  structure  situated  farther  back  in  the  field,  may  be  doubted. 
The  fact  that  the  colonnades  would  otherwise  be  uncovered,  favors  the 
former  view,  but  the  lack  of  organic  connection  and  the  disproportionate 
height  of  the  upper  structure  indicate  that  the  latter  interpretation  is 
the  more  probable. 

The  constructions  pictured  in  this  fresco  are  examples  of  the  fantastic 
and    freely    imaginative    architectural    decoration    of    Mau's    Fourth 
Pompeian   Style.     The   chief  elements   of   the   design,   however,   are       ~ 
doubtless  based  on  experience.1^ 

Height,  m.  1.80  (  =  5  ft.  10.86  in.).  Width,  m.  1.975  (=6  ft.  5.75  in.).  Thick- 
ness of  plaster,  ascertained  by  boring  a  small  hole  in  the  lower  right  corner,  m.  0.127 
(  =  5  in.). 

Plaster  to  a  considerable  extent  reset.  There  was  a  coarse  under  layer  on  top 
of  which  a  finer  coating  received  the  paint.  Numerous,  mostly  small,  pieces  of  this 
outer  layer  are  missing. 

The  red  ground  was  applied  first.  In  the  structure  on  the  left  the  yellow  hor- 
izontal band  was  painted  before  the  columns  which  it  connects;  the  blue  of  the  ends 
was  put  on  after  the  columns,  but  before  the  top  band  and  before  the  vegetable 
column  at  the  right.  In  the  upper  part  of  the  same  structure  the  small  legs  were 
probably  painted  before  the  circumscribed  palmettes;  these  before  the  remainder 
of  the  band  in  which  they  occur. 

The  paint  is  much  abraded  and  faded,  especially  in  the  upper  part,  where  little 
remains  except  thin  mud-colored  patches  which  probably  were  originally  yellow. 

1  An  example  of  trellis  work  analagous  to  the  upper  part  of  the  oblong  enclosure  may  be  found  in 
the  House  of  Castor  and  Pollux  at  Pompeii,  Nicolini,  Case  e  Monumenti,  Vol.  i,  Casa  di  Castore  e  Pplluce, 
Plate  3.  Besides  the  upper  hoop  there  are  two  side  hoops  on  which  figures  are  perched.  A  circular 
pavilion  with  four  stages  is  represented  in  a  Pompeian  fresco  published  by  Nicolini,  op.  cit.  Vol.  ii, 
Descrizione  Generate,  Plate  31.  For  analogies  in  details  of  ornament  of  the  lower  story,  cf.  Rpux, 
Herculanum  el  Pompei,  Vol.  I,  plates  87  f.  and  Nicolini,  op.  cil.  Descriz.  Gen.,  plate  12  (circumscribed 
palmette),  Roux,  op.  cit.  Vol.  I,  plate  41  (double  trident).  With  the  ornaments  of  the  frieze  of  the  rear 
colonnade  on  the  right  cf.  Roux,  op.  cit.  Vol.  I,  plate  17  (griffin  and  dolphin). 


METAL  OBJECTS. 

BRONZE   TABLE.     24407.     [PLATE   CXXXI.] 

This  table,  the  finest  piece  of  the  collection,  was  found  in  Villa  I,  in 
the  room  of  the  wine-presses1  (P),  along  with  other  articles  which 
indicated  that  that  room  had  been  converted  into  a  sort  of  living  apart- 
ment, with  the  idea  that  it  might  be  a  safe  refuge  until  the  outbreak  of 
the  mountain  had  subsided,  a  hope  which  was  proved  fallacious  by  the 
presence  of  the  skeletons2  of  two3  men  and  a  woman.  The  table  had 
been  placed  over  the  wooden  cover4  of  the  shaft  which  gave  access  to  the 
standard  of  the  press-beam.  This  cover  having  become  decomposed, 
the  table  had  been  bent  toward  the  opening  and  broken.  Its  present 
good  condition  is  due  to  modern  repairs  executed  before  it  entered  the 
Museum.  On  the  table  were  found  a  patera  and  two  pitchers  of  bronze.8 

There  is  the  usual  green  and  blue  oxidation.  On  top  are  some 
patches  of  brown,  which  seem  to  be  iron  rust  due  to  contact  with  some 
piece  of  that  metal.  « 

The  table  was  made  of  five  pieces,  that  is,  the  top,  three  legs  and  the 
brace,  all  of  which  are  cast.  The  component  parts  were  doubtless 
soldered  together,  but  the  joinings,  which  now  appear,  are  mostly,  if 
not  all,  modern.  There  seem  to  be  no  traces  of  rivets. 

The  top  is  a  round  sheet  of  metal,  plain  on  its  upper  surface,  but 
with  the  edges  turned  down  so  as  to  give  the  appearance  of  great  thick- 
ness, and  molded  in  the  form  of  the  cyma  recta.  The  cyma  is  decorated 
with  a  conventionalized  leaf-pattern  (Stabornament)  carried  out  plas- 
tically as  well  as  by  the  usual  grooves. 

The  hollow  legs  are  shorter  than  those  of  modern  tables,  because  it 
was  intended  to  stand  beside  a  couch  in  accordance  with  the  ancient 
custom  of  reclining  at  meals.  They  are  immovable,  unlike  those  of 
many  tables  of  that  time  which  could  be  spread  out  and  folded  up.  In 
form  they  represent  the  hind  legs  of  lions,  except  that  the  backs  are 
plain  above  the  brace.  Muscles  and  sinews  are  carefully  indicated, 
together  with  a  system  of  veins  which  run  about  the  toes  and  up  the 
foot,  and  appear  also  at  the  back  of  the  leg. 

1  Pasqui,  op.  cit.  col.  478. 

» Ibid.  coll.  473  f. 

1  Besides  the  skeleton  found  in  the  pit  with  the  Treasure. 

«  Ibid.  col.  478. 

» Ibid. 

182 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  183 

The  plain  flat  three-arm  brace  rests  upon  short  stubs  which  project 
from  the  legs  at  about  two-thirds  the  height  of  the  table. 

Similar  tables  with,  or  more  often  without,  the  brace,  sometimes 
with  claw-feet,  sometimes  with  hoofs,  as  well  as  a  more  conventionalized 
type,  in  which  only  the  feet  preserve  the  original  animal  form,  are  rep- 
resented on  a  number  of  Roman  monuments.  To  the  Romans  of  the 
Empire,  however,  they  must  have  seemed  of  antique  or  old-fashioned 
style.  We  find  substantially  the  same  forms  on  Hellenistic  grave- 
reliefs  from  the  Greek  Orient,  and,  occasionally,  in  place  of  the 
ordinary  rectangular  table,  on  Attic  grave-stelae  of  the  fourth  century. 
The  elements  seem  to  derive  ultimately  from  Babylonia  (tripod)  and 
Egypt  (legs  of  animals)  through  the  medium  of  Ionia.1 

Height  (average),  m.  0.538  (  =  i  ft.  9.18  in.).  Diameter,  m.  0.649  (~2  ft.  J-55 
in.).  Height  of  edge,  m.  0.0339  (  =  I-33  in.).  Thickness  of  metal,  about  m.  0.003 
(=0.118  in.),  sometimes  less,  often  more. 

One  leg  cracked  just  below  knee,  nearly  through  from  front  to  back.  One  claw, 
on  same  leg,  freshly  broken  off.  Feet  of  both  other  legs  cracked.  Brace  and  top 
seem  to  have  been  resoldered  to  legs  after  excavation. 


BRONZE   LANTERN.     24404.     [PLATES   CXXXII,  CXXXIII.] 

Among  the  finds  in  the  room  of  the  olive-press2  (Y)  of  Villa  I 
were  two  lanterns  differing  in  size  but  not  in  form,  one  of  which  came 
to  Field  Museum. 

It  is  in  fairly  good  condition  except  that  the  cover  is  indented  and 
cracked  and  the  lamp  loose.  It  is  thickly  covered  with  a  green  oxida- 
tion. No  trace  of  the  transparent  cylinder  remains. 

The  lantern,  as  preserved,  consists  of  the  frame  which  contains  the 
lamp,  the  cover  and  the  handle  with  the  chains  for  suspension.  These 
parts  may  be  seen  clearly  in  the  view  given  on  Plate  cxxxii,  which 
shows  the  lantern  distended. 

The  frame,  which  rests  on  three  short  round  legs,  consists  of  a  bottom 
and  a  top,  connected  by  upright  side-pieces.  The  flat  bottom  has  a 
rectangular  hole  in  the  center  for  the  attachment  of  the  dowel  or  rivet 
which  held  the  lamp.  About  the  outer  edge  there  is  an  upright  rim 
which  includes  the  bottom  and  is  soldered  to  it.  A  lower  secondary 
rim  is  soldered  to  the  bottom  just  inside  the  other,  the  space  between 
them  serving  to  hold  the  transparent  cylinder.  To  the  inside  of  the 
uprights  thin  strips  are  attached  by  means  of  rivets,  a  small  space  to 
receive  the  vertical  edges  of  the  cylinder  being  left  between  the  two 

1  Cf.  Phineus  vase  and  Furtwaengler  and  Reichhold.  Griech.  Vasenmalerei,  I,  p.  211. 

2  Pasqui,  op.  cit.  col.  499,    "si  rinvennero  entro  la  buca  dell'  arbor,  come  se  al  momento  delta 
catastrofe  si  fossero  trovate  appese  all'  arbor  medesimo,  e  in  seguito  col  consumarsi  di  questo  fossero 
cadute  nella  buca." 


184      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

pieces.  About  half  way  up  the  sides  of  the  frame  are  two  small  eyelets 
the  purpose  of  which  is  uncertain.  It  has  been  suggested1  that  one 
was  intended  to  hold  the  extinguisher,  the  other  a  pick.  The  hollow 
underside  of  the  top  of  the  frame2  enclosed  the  upper  edge  of  the  cylinder. 
The  material  of  which  this  consisted  was  probably  horn ;  at  least  traces 
of  that  substance  have  been  found  in  the  Berlin  lantern  which  comes 
from  another  villa  near  Boscoreale,3  and  in  a  lantern  from  Pompeii.4 
That  bladders  were  used  for  the  same  purpose  we  know  from  Martial 
(xiv,  6 a).5 

The  dome-like  cover,  which,  when  the  lantern  is  closed,  rests  on  the 
upper  ring  of  the  frame,  is  ornamented  with  bands  of  encircling  grooves. 
In  it  are  two  pairs  of  vents,  the  members  of  which  are  placed  opposite 
each  other,  one  pair  consisting  of  triangular  holes,  the  other  of  two 
three-quarter  circles  each,  the  flat  sides  facing  each  other.  In  the  top 
there  is  a  ring  and  staple,  by  means  of  which  the  cover  could  be  connected 
with  the  handle,  while  at  either  side  there  is  also  a  ring  and  staple 
through  which  pass  the  braided  side-chains  connecting  handle  and  frame. 

The  handle  is  formed  of  two  separate  flat  bars,  the  upper  bar  having 
a  loop,  a  conventionalized  bird's  neck,  and  a  knob  at  each  end,  the  lower 
turning  downward  at  the  ends,  to  which  are  attached  by  means  of  rings 
the  above  mentioned  side-chains.  Both  bars  play  freely  on  a  stem, 
which  by  means  of  a  short  chain  and  a  hook  could  be  connected  with  the 
ring  in  the  top  of  the  cover. 

As  ordinarily  carried,  the  lantern  was  probably  held  by  the  upper 
bar  only.  Owing  to  the  free  play  of  the  bars  on  the  stem  the  frame 
would  remain  steady  even  when  the  hand  turned  to  and  fro.6  When 
there  was  no  wind  the  lantern  could  be  hung  with  the  lid  raised,  in  which 
arrangement  more  light  would  be  cast,  and  the  smoke  could  escape  more 
freely.  In  this  case  also  the  lantern  would  be  suspended  from  the  upper 
bar  and  would  appear  in  distended  form.  When  the  lantern  was  held 
by  means  of  both  handles  there  was  no  play  on  the  stem,  the  cover  was 
down  and  might  be  hooked  or  unhooked  indifferently. 

The  lamp  is  composed  of  a  broad  band  tapering  toward  the  top  and 
ornamented  in  the  lower  part  with  shallow  encircling  grooves,  and  a 
basis,  to  which  it  is  fastened,  consisting  of  a  heavy  lead  ring  encased  in 
bronze  and  covered  across  the  top  with  a  sheet  of  bronze  which  serves 

1  Pernice,  Jahrb.  XV  (1900),  Am.  p.  192.  However,  neither  eyelet  seems  well  adapted  to  hold  the 
handle  of  an  extinguisher. 

2  The  uprights  contract  at  the  place  of  junction  with  the  upper  part  of  the  frame,  but  thicken 
again  above,  where  they  form  short  stubs  with  eyelets  and  ornamental  notches. 

»  Cf.  Pernice,  loc.  cit. 
« Ibid. 

•  •  Pasqui,  op.  cit.  says  (col.  500),  though  without  quoting  any  authority,  that  isinglass  (lapis 
specularis,  Ital.  talco)  was  also  employed. 
•  So  Pernice,  loc.  cit. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  185 

as  bottom  to  the  lamp,  and  is  ornamented  on  the  under  side  with  four 
shallow  concentric  grooves.  There  was  probably  a  cover  which  is  now 
missing.  Within  the  lamp  is  the  wick-holder  which  tapers  somewhat 
toward  the  top  and  has  the  form  of  a  wide  open  ring  or  ferrule.  Whether 
it  originally  belonged  to  this  lamp  is  uncertain.  At  any  rate  it  is  not 
in  its  proper  place,  for  it  is  stuck  into  a  gummy  substance  which  is 
probably  the  residuum  of  the  oil.1 

At  present  the  lamp  is  not  fastened  to  the  lantern-frame,  nor  are 
there  any  traces  on  it  of  means  of  attachment  excep't  two  oblong  abra- 
sions on  opposite  sides  of  the  upper  part  where  apparently  some  sort 
of  brace  was  soldered  in  order  to  hold  it  fast.  On  the  frame,  however, 
there  are  no  vestiges  of  other  means  of  attachment  than  the  hole  in  the 
bottom  previously  mentioned.  In  the  lanterns  in  Berlin  and  Pompeii, 
before  cited,  the  dowel  or  rivet  held  the  lamp  by  means  of  a  lunated 
attachment  affixed  to  the  under  side  of  the  latter.  The  bottom  of 
the  frame  in  the  Berlin  lantern  appears  to  have  been  double,  the  dowel 
passing  through  both,  while  the  upturned  edge  formed  the  inner  rim. 
In  the  lantern  of  Field  Museum  the  lamp  was  undoubtedly  riveted  to 
the  bottom  of  the  frame,  but  that  lamp  can  hardly  have  been  the  lamp 
which  the  frame  now  contains. 

Height,  to  top  of  staple  in  center  of  cover,  m.  0.232  (=9.13  in.);  distended, 
m.  0.41  (  =  l  ft.  4.14  in.).  Width  (across  uprights),  m.  0.146  (  =  5.74  in.).  Thick- 
ness of  bottom,  about  m.  0.0008.  Hole  in  bottom,  m.  0.016X0.003.  Height  of  rims, 
outside,  m.  0.014  ( =  °-55  in.) ;  inside,  m.  0.008,  and  less.  Width  of  uprights,  m.  0.021 
(at  bottom)  to  m.  0.005  (upper  extension).  Height  of  lamp,  m.  0.028  (upper  part) 
+0.011  (base)  =0.039  (  =  1.53  in.).  Diameter  of  lamp  at  top,  m.  0.047X0.0427. 
Height  of  wick-hclder,  m.  0.026.  Diameter  at  top,  m.  0.012. 

One  of  the  chains  has  a  modern  repair  of  iron  wire. 

BRONZE  BATH-TUBS.     24356,  24357. 
[PLATES  CXXXIV,  CXXXV.] 

Two  large  oblong  bath-tubs  of  bronze.  These  tubs  were  found,  one 
against  the  other,  in  the  entrance-court  (A)  of  the  first  villa,2  where 
they  appear  to  have  been  temporarily  stored.  Where  they  originally 
belonged  is  uncertain.  They  could  not  have  been  taken  from  the  bath- 
rooms, as  the  frigidarium  had  a  stationary  basin,  and  the  other  two 
rooms  are  too  small;  indeed  the  larger  of  the  tubs  would  not  pass  through 
the  doors.3  They  may  have  served  for  occasional  use4  in  some  other 

1  When  a  particle  of  this  substance  was  burned  it  gave  forth  an  aromatic  odor,  like  that  of  incense, 
indicating  that  the  oil  had  been  perfumed.  Consequently  the  slur  of  Juvenal.  At  hie  qui  pallidus 
adfertur  misero  libi  caulis  olebit  lanternam  (v.  86  ff.) .  would  not  in  the  case  of  this  lamp  have  been  justi- 
fied. 

1  Pasqui,  op.  cit.  col.  424. 

1  Pasqui,  op.  cit.  col.  522. 

4  In  which  case  the  speciali  condutture  di  acquo,  the  absence  of  which  in  the  bath-rooms  is  noted 
by  Pasqui,  I.  c.,  would  not  have  been  necessary. 


i86      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

part  of  the  house,  or,  as  has  been  suggested,1  they  may  have  been 
taken  from  some  other  villa. 

The  tubs  are  in  a  very  good  state  of  preservation,  except  for  some 
cracks  which  were  rudely  repaired  before  they  entered  the  Museum. 
They  are  covered  with  an  oxidation  of  various  shades  of  green  and 
iridescent  blue. 

The  body  of  each  tub  consists  of  five  pieces  of  metal,  that  is,  two 
sides,  two  end-pieces  and  the  bottom.2  The  sides  and  the  end-pieces 
are  brazed  together.  Traces  of  the  seams  may  be  seen  under  the 
oxidation,  near  the  ends  of  the  side  pieces.  The  side  and  end  pieces 
are  turned  over  at  the  top,  and  hammered  so  as  to  form  flat  rims,  the 
outer  edges  of  which  are  turned  under  in  a  sort  of  roll.  Through  this 
roll  passes  a  heavy  iron  wire.  The  lower  edge  of  side  and  end  pieces 
is  turned  under  at  right  angles,  thus  forming  a  ledge  upon  which  the 
bottom  rests,3  protected  from  contact  with  the  floor.  Four  handles, 
two  on  each  side,  are  riveted  to  the  larger  of  the  tubs  (No.  24357). 

The  shape  is  similar  to  that  of  modern  tubs.  The  sides  slant  but 
slightly  outward.  The  ends  have  a  more  gradual  slope,  the  greater 
inclination  from  the  perpendicular  being  in  the  tub  with  the  handles. 
The  rims,  which  are  wider  at  the  ends  than  at  the  sides,  are  both  bev- 
eled at  the  inner  edge,  that  of  the  smaller  tub  (No.  24356)  at  the  outer 
edge  as  well. 

The  larger  tub  could  be  emptied  by  means  of  a  small  hole  in  one 
end,  near  the  bottom. 

The  smaller  tub  is  entirely  destitute  of  ornament ;  the  other  is  plain 
except  for  the  handles.  These  consist  each  of  two  pieces,  which  are 
cast  separately,  namely,  the  attachment  and  the  ring  or  handle  proper. 
The  former  is  a  rounded  plate  with  ears,  through  which  pass  rivets, 
at  either  side  above.  The  plate  serves  as  a  background  for  a  lion's 
mask,  from  the  top  of  which  rises  a  flat  projection,  which  forms  a 
sort  of  elbow,  the  other  end  of  which  is  riveted  to  the  side  of  the  tub. 
The  front  of  this  elbow  is  represented  as  covered  with  hair  parted 
vertically  in  the  middle,  a  somewhat  loosely  carried  out  suggestion 
of  a  piece  of  a  lion's  skin.  The  mask  has  the  mouth  open  with  teeth 
visible  and  tongue  protruding.  The  eyeballs  and  lower  lids  are  in- 
dicated. The  pupil  is  shown  by  a  small  indentation.  Around  the 
face  is  a  fringe  of  mane.  The  ring,  which  is  large  enough  to  slip  over 
the  mask,  but  not  over  the  plate,  is  channeled,  except  on  the  inside. 

The  lions'  masks,  while  excellent  in  design  and  technique,  are 

1  Pasqui,  /.  c. 

1  Pasqui,  op.  cit.  col.  424,  errs  in  saying  that  the  tubs  are  made  '  'in  un  solo  pezzo." 
'  It  may  seem  strange  that  the  bottoms  were  not  fastened  in  the  same  way  as  the  sides  and  ends, 
and  it  is  possible  that  they  are  an  ancient  repair,  but  it  is  more  likely  that  they  are  the  original  con- 
struction, and  that  the  folded  edge  was  employed  in  order  to  secure  greater  sustaining  power. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  187 

somewhat  less  spirited  than  a  ring-holding  mask  from  Nemi,1  which 
is  otherwise  rather  similar,  and  lack  the  charm  of  style  which  exists 
in  the  typically  n'ot  very  different  lions'  heads  in  the  gymnasium  at 
Priene,2  belonging  to  the  second  century  B.  C. 

Although  bathing  had  been  practiced  by  the  Greeks  from  Homeric 
times,  and  by  the  Romans  of  the  republican  period,  only  a  few  bathing- 
vessels  have  survived  from  antiquity.     In  the  Naples  Museum  there     yiao  3 
are  two  bronze  tubs®  from  Pompeii.     There  is  a  marble  tub4  with  fluted 
sides  and  ornamental  lion-mask  handles  in  the  Louvre. 

24356.  Length  (top),  outside,  m.  1.951  (=6  ft.  4.8  in.);  inside,  m.  1.71  (  =  5  ft. 
7.3  in.).  Length  (bottom),  inside,  m.  1.53  (=4  ft.  X  in.).  Width  (top),  outside, 
m.  0.863  (  =  2  ft.  IO  in-);  inside,  m.  0.704  (  =  2  ft.  3^  in-)-  Width  (bottom),  inside, 
m.  0.565  (  =  i  ft.  10%  in.).  Depth,  ends,  m.  0.538  (  =  i  ft.  9 A  in.),  0.544  (  =  1  ft- 
9iV  in-),  center,  m.  0.523  ( =  i  ft.  8^i  in.).  Width  of  roll  (average),  m.  0.0193  (  =  -759 
in.).  Width  of  ledge,  on  which  bottom  rests,  about  m.  o.or  (=0.39  in.).  Thickness 
of  metal,  about  m.  0.002  (=0.078  in.).  At  one  end  of  one  side,  crack,  mended  with 
two  iron  strips  riveted  under  rim,  the  copper  rivet-heads  showing  on  top  (modern 
repair). 

24357-  Length  (top),  outside,  m.  2.143  (  =  7  ft.  }4  in.);  inside,  m.  1.88  (=  6  ft. 
2  in.).  Length  of  bottom,  inside,  m.  1.465  (  =  4  ft.  9^  in.).  Width  (top),  outside, 
m.  0.866  (=2  ft.  10.09  in-);  inside,  m.  0.713  (  =  2  ft.  4.07  in.).  Width  (bottom), 
inside,  m.  0.5795  ( =  *  ft.  10.8  in.).  Depth,  ends,  m.  0.52  ( =  I  ft.  8K  in.),  0.503  ( =  i 
ft.  7^f  in.),  center,  m.  0.496  (  =  i  ft.  7^  in.).  Width  of  roll  (average),  m.  0.0196 
(  =  .77  in.).  Width  of  ledge,  about  m.  0.0132  (  =  0.519  in.).  Thickness  of  metal, 
about  0.003  (  =  .n8  in.),  but,  at  edges  of  hole,  m.  0.004  (  =  >I57  m-)-  Diameter  of 
hole,  m.  0.024  (=0.944  in.)Xo.O22  (=0.866  in.).  Diameter  of  a  ring,  m.  0.195 
(  =  7iiin.)  X  m.  0.155  (=6.Hs  in.).  Thickness  of  rings,  about  m.  0.0226  (  =  0.889  in.). 
On  one  side,  under  rim,  two  iron  strips  riveted;  near  turn  at  one  end,  two  others,  and 
a  copper  strip  which  is  also  probably  modern. 


BRONZE    CASSEROLE.    24410.     [PLATES   CXXXVI-CXXXVIII.] 

Shallow  casserole  found  in  Villa  I  on  the  floor  of  the  corridor,  near 
the  large  cupboard.  The  preservation  is  excellent,  but  there  is  a 
thick  coating  of  green  and  blue  oxide.  It  is  cast  in  two  pieces,  handle 
and  bowl,  which  are  riveted  together.  After  the  casting,  the  bottom 
of  the  bowl  was  ornamented  with  concentric  circles  finely  turned  on 
a  lathe. 

The  bowl  rests  on  a  substantial  base-ring.  The  full  round  curve 
of  the  sides  secures  large  capacity  in  proportion  to  the  width  and 

1  Notiz.  degli  Scavi,  1895,  p.  369.  fig-  i. 

1  Priene,  p.  271,  fig.  278. 

'  Migliozzi  and  Monaco,  Nuava  Guida  Generale  del  Museo  Nationale,  p.  133.  Nos.  73003,  73007. 
One  of  them  is  probably  that  mentioned  by  H6ron  de  Villefpsse  A/on,  et  Mim.  Fond.  Piot,  v,  p.  20. 
n.  3,  who  cites  the  illustration  in  Nicolini,  Case  e  Monumenti,  II,  Descritione  Generale,  plate  62.  It  is 
rounded  at  one  end,  and  flat  and  also  lower  at  the  other. 

4  Villefosse,  /.  c.  quoting  Clarac,  pi.  253,  No.  637  (  =  Reinach,  Rip.  i,  p.  125). 


i88       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

depth.  In  the  inside  the  center  is  occupied  by  a  broad  low  boss  sur- 
rounded by  a  molding,  which  has  the  effect  of  a  collar.  The  wide 
lip  is  flat  on  the  bottom,  and  molded  on  top,  the  surface  being  broken 
into  two  parts,  a  broad  wave  inside  and  a  narrow  plain  roll  on  the  outer 
edge.  The  bowl  is  ornamented  with  fine  raised  encircling  lines,  two 
between  boss  and  collar  and  two  on  the  upper  side  of  the  lip,  and 
with  fine  grooves,  one  on  either  side  of  the  lower  outer  corner  of  the 
lip.  There  probably  are  also  on  the  inner  edge  of  the  lip  two  fine 
raised  lines,  and  there  are  possible  traces  of  one  or  two  raised  bands 
on  the  inside  of  the  bowl.  There  are  also  doubtful  traces  of  a  leaf- 
pattern  on  the  upper  inner  edge  of  the  lip. 

The  handle,  which  has  four  ribs  on  each  side  and  a  molded  collar 
next  to  the  lip,  is  attached  to  the  under  side  of  the  bowl  by  means  of 
a  thin  extension  cut  so  as  to  form  two  portions,  which  converge  toward 
each  other.  This  attachment-piece  is  held  to  the  bowl  by  means  of 
four  rivets,  and  is  decorated  on  either  side  with  a  stamped  pattern 
of  scrolls  and  arabesques.1  The  outer  end  of  the  handle  has  the  form 
of  a  ram's  head.  The  treatment  is  decorative  and  conventional,  as 
may  be  seen  in  the  elongated  shape  and  pointed  ears,  but  the  modelling 
of  the  bony  structure  of  the  horn  and  of  the  end  of  the  nose  is  more 
careful  than  might  have  been  expected  on  a  common  household  utensil. 

A  casserole,  which  in  form  and  decoration  is  substantially  identical, 
was  found  in  another  villa  near  Boscoreale,  and  is  now  in  Berlin.2 
Another  is  in  the  museum  at  Cairo.3 

The  exact  use  for  which  these  objects  were  intended  is  not  certain. 
It  has  been  suggested  by  Pernice4  that  they  were  employed  for  such 
kinds  of  food  as  were  served  in  the  dish  in  which  they  were  cooked.5 
However,  as  they  were  probably  held  in  the  hand  of  the  person  eating 
from  them,  they  can  scarcely  have  been  used  for  any  cooking  that 
would  have  heated  the  handle,  and  it  would  seem  that  they  are  to 
be  regarded  chiefly  as  hand-plates. 

Length,  m.  0.135  (handle) +0.234  (diameter  of  bowl)  =0.369  (  =  14.52  in.). 
Height,  m.  0.056  (  =  2.2  in.).  Diameter  of  base-ring,  m.  0.113.  Diameter  of  boss, 
m.  0.054.  Length  of  handle  on  under  side,  m.  0.185  (  =  7-28  in.). 

1  For  a  similar  pattern  cf.  Roux,  op.  cit.  Vol.  vii,  plate  69. 

2  Pernice,  op.  cit.  p.  191,  fig.  20. 

»  Published  in  Jahrbuch,  XVIII  (1903).  Am.  pp.  143  ff.,  p.  148,  fig.  3,  by  F.von  Hissing,  who  remarks 
that  that  museum  possesses  no  pieces  which  on  external  evidence  must  be  dated  in  Hellenistic  times. 

4  Op.  cit.  pp.  191  f. 

5  The  Naples  casserole,  No.  73455.  can  not  have  been  used  for  liquid  food.     See  Professor  Tar- 
bell's  Catalogue  of  Bronzes,  etc.,  in  Field  Museum,  p.  134,  No.  211.     This  counts  also  against  Less- 
ing's  theory  (Jahrb.  XIII  (1898),  Anz.  p.  35)  that  these  objects  were  used  to  contain  food  or  sauce  which 
was  poured  by  the  servants  onto  the  plates  of  the  guests. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  189 

BRONZE  AMPHORA.     24408.     [PLATE   CXXXIX.] 

This  small  amphora  was  found  along  with  some  rough  terra-cotta 
vases  in  a  wooden  chest  just  inside  the  entrance  to  Villa  I.1  It  is  poor- 
ly preserved,  especially ,  the  bottom,  the  edges  of  which  have  been 
nearly  eaten  out,  so  that  it  is  held  by  only  a  small  strip.  The  vase 
is  covered  with  thick,  mostly  dark  blue  oxide.  Body  and  handles 
are  cast  separately. 

The  rather  full  body  rests  on  a  plain  flat  bottom,  and  passes  by  a 
continuous  curve  to  the  short  neck  and  flaring  lip.  Vertical  handles 
with  leaf  shaped  lower  attachment  are  soldered  to  the  side  and  neck, 
the  top  of  the  handle  being  lower  than  the  lip. 

The  outside  of  the  vase  is  unornamented  except  for  a  fine  encircling 
groove  near  the  top.  Inside  the  lip  there  are  three  encircling  rings 
with  a  groove  at  either  side  and  also  a  single  groove. 

In  shape  this  vase  lies  midway  between  the  two  common  types  of    gg 
Roman  bronze  amphorae  which  have,  the  one®  a  wide  rounded  body    777    y- 
and  short  neck,  the  other^a  slender,  almost  angular  body  with  a  rather 
long  tapering  undefined  neck,  and  differs  from  both  in  the  wide  flaring 
lip  and  the  lack  of  a  base.     It  is  very  similar  to  an  amphora  repre- 
sented as  on  the  stylobate  of  a  small  building  in  a  fresco  of  the  Casa 
della  Caccia,  Pompeii.^ 

Height,  m.  0.198  (  =  7.79  in.).  Diameter,  m.  0.121  (=4.78  in.)Xo.n8  (=4.64 
in.).  Diameter  of  bottom,  m.  0.055  (  =  2.16  in.);  of  top,  m.  0.074  (  =  2.91  in.). 
Height  of  handles,  m.  o.m  (=4.37  in.).  Thickness  of  side,  m.  o.ooi+.  Distance 
of  outside  groove  from  top,  m.  0.005. 

About  in  the  center  of  the  bottom,  dent  (diameter  m.  0.002)  purposely  made. 

BRONZE   PITCHER.     24406.     [PLATES   CXL,  CXLL] 

Pitcher,  probably  one  of  two  which  were  found  in  Villa  I,  near 
the  oil-vat5  (Room  Y).  It  is  in  good  condition  except  that  the  handle 
is  cracked  through  near  the  lower  attachment.  There  is  a  thick  coat- 
ing of  mostly  dark  green  oxide.  Body  and  handle  are  cast  separately. 

The  contour  of  the  body  has  the  form  of  two  rounded  obtuse  angles, 
one  convex,  the  other  concave,  joined  together,  the  greatest  diameter 
being  below  the  center.  The  bottom  is  slightly  concave  but  without 

1  Pasqui.  op.  cit.  coll.  409  f. 

1  Roux,  Herculanum  el  Pompei,  Vol.  vii,  plate  79;  Schreiber,  Die  alexandrinische  Toreutik,  p.  364. 
fig.  103. 

'  Roux,  op.  cit.  ibid.;  Schreiber,  op.  cit.  p.  366,  fig.  104. 

®Zahn,  Die  schoensten  Ornamente,  etc..  Vol.  ii,  plate  60. 

5  Pasqui,  op.  cit.  col.  499,  fig.  68.  The  top  of  the  handle,  the  part  which  served  as  thumb-rest,  is 
less  pointed  than  in  the  pitcher  there  illustrated,  but  the  cut  is  so  small  and  poor  that  much  weight 
should  not  be  attached  to  the  slight  difference. 


igo       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

base-ring.  The  mouth  is  almond-shaped  with  spout  at  the  apex. 
The  body  is  unornamented. 

The  handle  terminates  below  in  an  acanthus  palmette,1  and  sepa- 
rates above  into  a  thumb-rest  and  arms  which  rest  on  the  top  of  the 
lip.  These  arms,  which  are  rounded  but  imitate  no  natural  form,  end 
in  a  triple  disc-ring.  The  thumb-rest,  which  has  a  narrow  band  on 
the  upper  side  and  a  heavy  groove  on  the  under  side,  both  longitudinal, 
has  a  knob  at  the  upper  end.  At  the  other  end  it  appears  as  though 
secured  by  a  wide  band  which  is  ornamented  with  beading  in  the 
center  and  a  groove  near  each  outer  edge.  The  motive  is  ultimately 
of  Egyptian  origin.2  The  back  of  the  handle  has  in  the  center  a  heavy 
longitudinal  groove,  with  a  lighter  groove  at  either  side.  This  orna- 
ment parts  toward  the  lower  end,  and  terminates  at  either  side  in  the 
volutes  which  form  the  top  of  the  lower  attachment. 

A  pitcher  with  a  similar  but  somewhat  more  globular  body  is 

painted  in  yellow  on  a  blue  background  in  a  medallion  in  the  Casa  del 

YI'  ^q        Centaur o®  Pompeii.     Another  example  with  globular  body  with  less 

pointed  spout  is  afforded  by  a  diminutive  bronze  pitcher  from  the 

Athenian  Acropolis,  probably  a  votive  substitute.4 

Handles  with  thumb-rest  are  numerous  among  the  Roman  bronze 
ftp  fj,  yt  vases®  The  thumb-rest  is,  however,  much  earlier.6  The  arms, 
which  rest  on  the  back  part  of  the  top  of  the  vase,  are  probably  a 
simplification  of  a  naturalistic  form,  such  as  the  front  legs  of  an  animal 
or  the  arms  of  a  human  figure,  a  type  which  is  at  least  as  old  as  the 
fifth  century  B.C.,7  and  is  probably  older,  for  the  simplified  form  occurs 
on  vases  of  about  that  period  found  in  Italy,  e.  g.  a  bronze  pitcher 
with  long  spout  in  Karlsruhe.8 

Height  (extreme),  m.  0.134  (  =  5-27  m-);  of  body  of  vase,  m.  0.089  (=3-5  m-)« 
Diameter,  m.  0.073  (  =  2-&7  m-)-  Diameter  of  bottom,  m.  0.045  (  =  I-77  ifl-);  of  top 
m.  0.037X0.05.  Thickness  of  metal,  about  m.  0.002.  Height  of  handle,  m.  0.118 
(=4.64  in.). 

1  For  a  similar  palmette  cf.  the  bronze  handle  in  the  Louvre,  Reinach,  Repertoire  de  la  statuaire.  Vol. 
ii,  p.  744,  No.  5- 

•  Cf.  Prisse  d'Avennes,  Histoire  de  I'art  igyptien.  Vol.  i,  painted  columns  from  Karnak. 
$Zahn,  op.  cit.  Vol.  ii,  plate  59. 

«  De  Ridder,  Cat.  des  bronzes  de  I'Acropole  d'Athenes,  No.  163,  fig.  27. 
1  For  an  example  with  knob,  see  Roux,  op.  cit.  Vol.  vii,  plate  76. 

•  Cf.  Olympia,  iv,  plate  55,  No.  927,  said  by  Furtwaengler  to  resemble  the  ear  of  an  animal. 
7  Cf.  de  Ridder,  op.  cit..  No.  176. 

•  Schumacher,  Beschreibung  d.  Samml.  antiker  Bronzen,  plate  x,  No.  22,  p.  109,  No.  s8oa.  cf. 
No.  582  (x,  23). 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  191 

BRONZE   PITCHER.     24405.     [PLATES   CXLII-CXLIV.] 

Pitcher,  perhaps  the  other  member  of  the  pair  (cf.  24406)  found 
near  the  oil-vat.1  It  is  in  good  condition,  though  covered  with  thick, 
mostly  dark  blue  oxide.  The  body  of  the  vase  and  the  handle  with 
its  attachments  are  cast  separately. 

The  body  of  the  vase  consists  of  a  nearly  globular  lower  part  rest- 
ing on  a  low  base,  the  interior  of  which  is  turned,  and  a  plainly  differ- 
entiated neck,  the  top  of  which,  forming  the  lip,  flares  very  slightly. 
There  is  a  rather  sharply  defined  spout. 

The  vase  is  ornamented  with  a  slight  groove  at  the  top  of  the 
base-ring  and  about  four  fine  encircling  lines  on  the  lower  part  of 
the  neck.  The  base  of  the  neck  is  raised  slightly  above  the  surface 
of  the  shoulder. 

As  in  No.  24406,  the  handle  separates  above  into  a  thumb-rest, 
the  base  of  which  is  bound  by  an  ornamental  band,  and  arms  which 
rest  on  the  top  of  the  vase.  The  thumb-rest  has  the  form  of  a  leaf  with 
recurved  end,  and  is  decorated  on  the  upper  surface  with  two  longitu- 
dinal lines.  The  arms,  which  imitate  no  natural  form,  are  rounded 
on  top  and  taper  to  beveled  ends.2  On  the  front  of  the  handle,  just 
beneath  the  thumb-rest  and  facing  the  mouth  of  the  vase  there  is  a 
lotus-flower  pointing  downwards. 

The  lower  attachment  of  the  handle,  which  has  the  form  of  a  plaque 
with  three  convex  sides,  is  fastened  to  the  vase  by  means  of  four  nails 
or  rivets,  two  above  in  ear-like  projections  at  either  corner,  and  two 
in  the  lower  part,  one  on  each  side,  and  terminates  beneath  in  a  simple 
palmette  with  a  volute3  at  either  side. 

The  plaque  serves  as  the  background  for  the  relief  of  an  infant's 
face  with  full  round  cheeks  and  broad  hollow  nose.  The  eyes  slant 
slightly  upward  and  outward,  the  right  eye  a  trifle  more  than  the 
left.  The  eyebrows  and  the  upper  eyelids  are  represented  plastically; 
pupil  and  iris  are  indicated  by  indentations.  The  hair  is  arranged 
in  rows  of  naturalistic  curls,  as  in  a  figure  supposed  to  be  Ganymede 
on  a  bronze  umbo  from  Carnuntum.4  In  the  hair  there  is  a  diadem 
with  leaf -pat  tern  ornament,  which  may  be  compared  with  the  wreath 
in  the  hair  of  a  similar  mask  on  a  ewer  published  by  Schreiber,5  and 
with  the  lower  band  of  the  headdress  of  the  figure  on  the  umbo  above 

1  Pasqui,  op.  cit.  col.  499.  The  pitchers  found  on  top  of  the  table  (24407)  were  similar  to  this, 
but  neither  was  identical,  if  Pasqui's  statement  (col.  478)  that  their  handles  were  ornamented  each  with 
a  mask  of  a  bacchante  is  correct. 

*  Cf.  24406. 

1  Cf.  Schreiber,  Alexand.  Toreutik.  p.  377. 

4  Muensterberg,  Oest.  Jahreshefte,  vi.  plate  4. 

'  Alexand.  Toreutik,  p.  370,  No.  161  a,  "Kindermaske  mit  Blatterkranz  im  Haar," 


iQ2       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

mentioned.  Its  presence  is  in  accordance  with  the  Attic  custom  as 
exemplified  in  various  Attic  grave-stelae.1  This  band  serves  also  as 
a  transitional  motive  between  the  mask  and  the  back  of  the  handle, 
as  may  be  seen  more  clearly  in  the  handle  of  a  bronze  vase  in  Karls- 
ruhe.2 

The  ornamentation  of  the  back  of  the  handle  divides  at  the  lower 
end  above  the  attachment  into  three  spreading  leaf  ends.3  At  the 
top  there  is  a  spray  of  three  berries  and  two  groups  of  three  leaves 
each,  probably  of  the  laurel,  pointing  downward.4 

Immediately  beneath  the  laurel-spray  there  is  a  bird  with  long 
beak  pointed  upward5  obliquely  to  the  right,  high  pointed  wing  and 
long  legs.  It  is  the  bird  of  the  silver  cup,  No.  13  of  the  Boscoreale 
treasure,6  and  is  probably  to  be  regarded  as  a  heron,7  or  a  stork. 

Height  (extreme),  m.  0.167  ( =6.57  in.);  height  of  body  of  vase,  m.  0.128  ( =  5.04 
in.);  height  of  neck,  m.  0.035  (  =  1.37  in.).  Diameter,  m.  0.109  (  =  4.29  in.);  diameter 
of  base,  m.  0.057  (  =  2.24  in.);  diameter  of  neck  in  center,  m.  0.0515  (  =  2.02  in.). 
Thickness  (average  of  neck),  about  m.  0.0035.  Height  of  handle  above  body  of 
vase,  m.  0.042  (  =  1.65  in.). 


BRONZE   PITCHER.    24409.     [PLATES   CXLV-CXLVIL] 

Pitcher  or  ewer8  found  in  a  bedroom  (cubiculum  L)  of  Villa  I, 
lying  on  the  floor.9  It  is  in  poor  condition.  One  side  is  not  quite 
complete,  having  been  restored  from  fragments.  The  sides  are  cor- 
roded through,  and  the  entire  vase  is  heavily  oxidized  in  dark  green 
and  blue.  Handle  and  vase  were  cast  separately. 

The  rather  full  body,  with  the  greatest  diameter  at  about  half  the 
height,  passes  to  shoulder  and  wide  neck  by  a  continuous  concave  curve. 
There  is  a  low  base,  the  underside  of  which  is  ornamented  with  con- 
centric circles  turned  on  a  lathe.  The  wide  horizontal  lip  is  orna- 
mented near  the  outer  edge  with  a  narrow  band  which  has  a  groove 
at  either  side,  and  near  the  inner  edge  with  a  single  groove.  On  the 
inside  of  the  mouth  hear  the  top  there  is  a  slight  encircling  ridge  or 
seam. 

1  E.  g.,  Conze,  Die  allischen  Grabreliefs,  ii,  plate  161. 

2  Schumacher,  Beschreibung  d.  Samml.  antiker  Bronzen,  No.  611,  plate  xi.  n. 
'  Cf.  Schreiber,  Alexand.  Toreutik,  pp.  376  ff. 

*  Similar  motive  but  different  plant,  Schreiber,  op.  cit.  p.  345,  (fig.  84/3).  Cf.  ibid.  p.  371,  No.  145  /3. 
"  Lorbeerzweig  mit  Fruchten,"  and  the  silver  vase  from  Hildesheim,  Pernice  and  Winter,  Hildes- 
heimer  Silberfund,  plate  9. 

s  Cf.  the  bronze  figurine  in  Cologne,  Reinach,  Rep.  de  la  slat.  Vol.  iii.  p.  224,  No.  4. 

•  Villefosse,  op.  cit. 

7  Zahn,  in  Priene,  p.  417,  note. 

8  '  'Grande  vaso  da  mescere  con  collo  a  tronco  di  cono  e  con  ansa  fusa  nella  cui  estremita  inferiore 
sono  rappresentati  a  basso  rilievo  due  galli  combattenti."     Pasqui,  op.  cit.  col.  433,  b. ;  fig.  25  (col.  432). 

'  "  Poco  distante  dall'angolo  destro  delta  porta,"  Pasqui,  ibid. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  193 

The  upper  part  of  the  handle  has  at  either  side  a  volute  and  a 
long-beaked  bird's  head  which  is  attached  to  the  outer  vertical  edge 
of  the  lip,  and,  in  the  center,  a  thumb-rest  consisting  of  a  leaf  with 
recurved  end  terminating  in  a  small  knob.  The  leaf  is,  as  it  were, 
held  in  place  by  an  ornamented  transverse  band. 

The  use  of  birds'  heads,  as  a  transitional  motive  between  handle 
and  mouth,  occurs  very  frequently  in  metal  vases  of  the  Roman  period, 
and  occasionally  in  other  materials.1  The  examples  which  were  known 
up  to  the  year  1894  may  be  found  collected  in  Schreiber's  Alexan- 
drinische  Toreutik.  The  list  there  given  does  not  include  any  speci- 
mens from  Greece  or  the  eastern  part  of  the  Roman  Empire,  with  the 
exception  of  two  pieces  in  the  Egyptian  Museum  of  the  Vatican,2 
nor  any  from  definitely  ascertained  pre-Roman  strata.  A  number 
of  examples  in  bronze  and  terra-cotta  have  since  been  found  in  Priene3 
and  Pergamon,4  but  there,  does  not  appear  to  be  sufficient  external 
evidence  to  establish  for  them  a  date  prior  to  the  end  of  the  Attalid 
kingdom.  However,  it  has  been  shown  by  Schreiber  in  the  above 
mentioned  work  that,  whatever  the  date  of  the  actual  vases  with 
the  motive  in  question  may  be,  the  majority  of  the  types  of  shape  and 
decoration  are  Greek  of  the  Hellenistic  period,  that  the  most  impor- 
tant center  of  manufacture  was  probably  Alexandria,  and  that  it 
is  reasonable  to  attribute  to  the  art  of  that  city,  which  was  strongly 
influenced  by  the  naturalistic  tendency  of  Egyptian  decoration,  the 
formation  of  this  inorganic  and  un-Hellenic  method  of  attachment.5 

The  handle  widens  at  its  lower  end,  forming  a  sort  of  plaque  for 
attachment  with  two  convex  sides  meeting  beneath  in  a  simple  pal- 
mette  between  volutes.  On  this  plaque  is  a  relief  of  two  game-cocks 
confronting  each  other,  as  if  about  to  fight.  They  stand  on  a  ledge 
which  juts  out  sharply  from  the  background.  The  treatment  of 
the  relief  is  freely  naturalistic,  as  in  a  figurine  from  the  Athenian  Ac- 
ropolis,6 while  the  group  is  similar  to  that  on  a  nestoris  from  South 
Italy,7  and  a  bronze  handle  of  advanced  archaic  style  in  the  Forman 
collection.8 

Just  above  the  heads  of  the  fowls  are  two  objects  which  look  like 
feathers  crossing  each  other,  but  are  perhaps  rather  to  be  regarded 

1  Cf.  Schreiber,  Alexand.  Toreutik,  p.  382;  Jahrb.  xix.  Am.  p.  56,  No.  47,  fig.  12. 

1  P.  438. 

1  Priene,  pp.  282  (fig.  295).  386  (fig.  490). 

«  Conze,  Abhandl.  Berl.  Akad.  1902,  p.  10,  n.  i. 

•  Cf.  von  Bissing,  Jahrb.  XVIII  (1903),  Am.  p.  146. 

•  De  Ridder,  Cat.  des  bronzes  de  I'Acropole,  No.  539.  fig.  i?6  (  =  Reinach,  Rip.  de  la  slat.  Vol.  ii, 
p.  775.  No.  5). 

7  Mayer,  Roem.  Mitteil.  XII  (1897).  p.  227,  fig.  14,  p.  210. 

•  Reinach,  op.  cit.  Vol.  iii,  p.  225,  No.  2.  Cf.  also  Richardson,  Am.  Jour,  of  Archaeol.  II  (1898), 
pp.  199.  f.,  plate  vi. 


194      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

as  palm-branches,  which  are  used  so  freely  as  a  decorative  motive  in 
Pompeian  frescoes  that  no  special  allusion  need  be  sought  in  order  to 
account  for  their  presence  here.  There  was  an  approximately  simi- 
lar representation  of  a  single  palm-branch  on  the  handle  of  a  silver 
casserole  found  near  Zurich. 1 

The  back  of  the  handle,  which  has  fine  beading  down  each  edge, 
ends  in  appearance,  though  not  in  reality,  in  a  volute  at  either  side 
with  a  recurved  leaf  between  them,  a  repetition  on  a  smaller  scale 
of  the  terminal  motives  at  the  top.  Volutes  and  leaf  form  the  upper 
boundary  of  the  attachment-plaque. 

The  space  between  the  transverse  band  at  the  top  and  the  re- 
curved leaf  at  the  bottom  is  occupied  by  three  designs  in  relief,  name- 
ly, a  mask  with  a  garland  above  and  a  basket  beneath.  The  mask, 
which  faces  to  left,  has  the  deep  set  eyes  and  strong  masculine  though 
beardless  profile  of  a  Hellenistic  portrait.  The  head  is  represented 
as  wearing  a  sort  of  cap  with  puffed  sides,  beneath  which  the  hair 
falls  in  curls  at  the  back.2  The  central  portion  of  the  garland  hangs 
in  a  half-circle  from  two  points  just  beneath  the  transverse  band, 
while  the  long  ends  reach  nearly  down  to  the  mask.3  About  in  the 
center  of  the  space  enclosed  by  garland  and  mask  there  is  a  bit  of 
incrustation  which  may  conceal  some  small  object.  Beneath  the 
mask  the  shallow  wicker  basket  has,  along  the  top,  a  row  of  dots, 
perhaps  representing  fruit,4  perhaps  merely  ornamental®  and,  at 
either  side,  a  dependent  streamer  terminating  in  a  ball,6  probably 
originally  inlaid  with  silver,  which  has  disappeared.  Above  the 
basket  there  were  two  smaller  balls. 

Vases  of  this  style  are  numerously  represented  in  the  Naples  Mu- 
seum, as  may  be  seen  from  the  list  given  by  Schreiber,7  and  are  found 
occasionally  outside  of  Campania.  There  is  an  example  from  Bosco- 
reale  in  Berlin.8  From  the  same  site  comes  a  vase  of  similar  shape, 
but  without  thumb-rest  or  ornament.9  A  terra-cotta  vase  with  no 
thumb-rest,  but  with  a  transverse  band  on  the  handle,  was  found 
at  Priene.10  According  to  Schreiber,11  vases  and  handles  of  the  same 

1  Schreiber,  op.  cit.  p.  319,  No.  9,  a,  fig.  61. 

2  Cf.  Schreiber,  op.  cit.  p.  349,  No.  86,  a)  (portrait  bust),  p.  357.  No.  107,  ft)  (mask  with  cap). 

*  For  similar  position  and  arrangement,  cf.  Schreiber,  op.  cit.  p.  345,  fig.  86,  ft) ;  cf.  also  ibid.  p.  467. 

*  Cf.  Reinach,  Rip.  de  la  slat,  i,  p.  34,  plate  155. 

C>Cf.  Zahn,  Die  schoensten  Ornamente,  etc.  Vol.  ii,  plate  70. 

«  Cf.  Schreiber,  Alexand.  Toreutik,  p.  35L  No.  93  ft- 

7  Alexand.  Toreutik,  pp.  344  ff. 

1  Jahrbuch,  xv,  Am.  pp.  194  ff.,  fig.  24  (Pernice). 

*  Ibid.  p.  194. 

10  Priene.  pp.  421  f..  No.  58. 

11  Alexand.  Toreutik,  p.  433. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  195 

shape,  but  without  the  ornamentation,  are  found  in  Egyptian  green- 
glazed  ware  of  the  Ptolemaic  period. 

It  is  uncertain  for  what  use  these  large  pitchers  were  intended. 
Pasqui1  calls  them  "vast  da  mescere";  Pernice2  thinks  they  may  have 
served  to  hold  water.  It  is  evident  from  theif  shape  and  size  that 
they  were  designed  to  hold  a  considerable  quantity  of  a  liquid,  which 
did  not  need  to  be  poured  in  a  small  stream.  That  this  liquid  was 
water  to  drink  or,  more  likely,  to  mix  with  the  wine,  or  even  a  reserve 
supply  of  wine,  is  not  improbable. 

Total  height,  m.  0.316  (  =  12.44  in-)-  Height  of  vase  without  handle,  m.  0.289 
(  =  11. 37  in.).  Height  of  base,  m.  0.007.  Diameter,  m.  0.192  (  =  7.55  in.).  Diameter 
of  bottom,  m.  0.098  (=3.85  in.).  Diameter  of  top,  outside,  m.  0.13  (  =  5.11  in.); 
inside,  m.  0.093  (  =  3-66  in.).  Thickness  of  sides,  less  than  m.  o.ooi.  Height  of 
handle,  m.  0.201  (  =  7.91  in.).  Width  of  lower  attachment,  m.  0.06  (  =  2.36  in.). 

Bottom  cracked  nearly  all  the  way  around.  The  handle  seems  to  have  become 
detached  and  to  have  been  replaced. 

BRONZE  PITCHER  OR  EWER.     24403. 
[PLATES  CXLVIII,  CXLIX.] 

Large  bronze  vessel  with  one  handle  found  in  Villa  I,  in  the  room 
of  the  wine-press  (P),  where  it  lay  in  a  heap  of  other  vases  of  various 
kinds.3  It  is  in  poor  condition,  being  much  broken,  patched  and 
cracked.  The  vase  is  corroded  through  as  well  as  heavily  oxidized 
in  green  and  dark  blue.  The  handle  was  cast  separately. 

The  lower  part  of  the  vase  is  rounded.  It  has  a  long  conical  shoulder 
and  a  short  round  mouth-piece,  which  has  the  form  of  a  section  of  an 
inverted  cone.  The  bottom  is  flat,  the  lip,  narrow.  The  body  of 
the  vase  is  unornamented  except  for  a  series  of  grooves  and  raised 
lines  on  the  inside  of  the  mouth.4 

The  upper  attachment  of  the  handle  is  formed  of  large  birds'  heads, 
which  are  joined  to  the  outer  edge  of  the  lip,  and,  with  the  beaks, 
extend  about  half  way  around  the  lip.  The  mouth  is  indicated  by 
a  groove,  the  plumage  by  wavy  lines.  Eyes  and  ears  were  inlaid 
with  silver  which  has  now  mostly  disappeared.  There  are  no  volutes 
preceding  the  birds'  heads.  Instead  of  the  thumb-rest,  which,  on 
vases  like  the  preceding  (24409),  is  sometimes  the  figure  of  an  actual 
thumb,  there  is  here  a  conventionalized  long  straight  thumb,  which 
rises  between  the  birds'  heads,  and  projects  horizontally  part  way 
across  the  mouth  of  the  vase.  The  thumb-nail  is  of  silver. 

»L.  c. 

1  L.  c.  p.  195. 
*  Pasqui,  op.  cit.  col.  482. 

«  /.  e.  just  inside  lip,  depression,  in  which,  fine  raised  line,  followed  by  convex  surface,  after  which 
raised  line  with  groove  at  either  side,  all  of  which  encircle  the  mouth. 


196      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  lower  attachment  looks  like  an  inverted  pear  supported  by 
a  diamond-shaped  body  with  two  arms  which  have  the  form  of  birds' 
heads.1  The  lower  end  of  the  pear-shaped  plaque  is  engraved2  so  as 
to  represent  a  conventional  lotus,  which  has  a  cross-band  beneath 
the  flower,  inlaid  in  silver.  The  plaque  is  ornamented  with  oblique 
striations  about  the  edge,  while  in  the  center  there  is  a  silver  wreath 
of  leaves  and  flowers  tied  with  a  ribbon,  treated  in  the  impressionistic 
manner.  The  birds'  heads  have  the  eyes  and  ears  of  silver.  On  the 
body  from  which  these  heads  spring  there  is  an  engraved  palmette- 
like  ornament  similar  in  appearance  to  that  which  springs  from  the 
center  of  the  lotus  flower  above.  At  the  side-angles,  however,  there 
is  something  like  an  eye  indicated  in  the  engraving.  Now,  if  we  view 
the  attachment  from  the  other  direction,  this  body  and  the  birds' 
heads  become  the  head  and  legs  of  a  lizard  or  salamander,  particularly 
the  variety  of  the  latter  called  newt.  It  seems  not  unlikely  that  there 
is  here  an  intentional  mixture  of  motives  @ 

The  use  of  the  birds'  heads  to  support  the  attachment-plaque  is 
regular  in  this  type  of  vases.4  The  ornament  appears  in  a  reduced 
form  in  a  specimen  from  Boscoreale,  now  in  Berlin.5  A  leaf  is  used 
for  the  attachment  in  another  example  from  Boscoreale.6 

On  the  back  of  the  handle  there  is  an  ornament  in  relief  consisting 
of  a  vertical  stalk  with  ribs  at  either  side  projecting  upward  obliquely. 
This  design  appears  to  be  regular  here  in  this  type  of  vase.7  At  the 
lower  end,  next  to  the  lower  attachment,  there  is  a  band  with  vertical 
flutes  and  a  ruffle  at  either  edge.  The  effect  is  like  that  of  a  strip 
of  cloth  or  paper  tied  to  the  stem.  There  is  a  somewhat  similar  transi- 
tion motive  on  the  above  mentioned  fantastic  bronze  handle  in  the 
Naples  Museum.^ 

The  purpose  which  these  vessels  served  is  not  quite  certain.  From 
the  finding  place  of  this  example,  and  from  the  fact  that  another  one9 
was  found  in  a  bedroom  it  might  be  inferred  that  they  were  intended 
to  hold  wine  or,  more  likely,  the  water  that  was  to  be  mixed  with  it. 
The  use  of  the  long  projecting  thumb  might  afford  a  clue,  if  it  were 

1  An  old  motive  in  a  new  form.  Cf.  an  Italic  bronze  handle  in  the  British  Museum,  Hoernes, 
Urgeschichte  der  Kunat  in  Europa,  p.  416,  pla.te  ix.  No.  2.  and  a  gold  ornament  in  the  Treasure  from 
Aegina,  Evans,  Journal  of  Hellenic  Studies,  xiii,  pp.  197  ff.,  fig.  2a  (p.  197). 

2  In  the  model  before  casting. 

a  For  an  example  of  fanciful  mixture  of  motives,  cf.  the  bronze  handle,  Roux,o£.  cil.  Vol.  vii,  plate 
98  (  =  Museo  Borbonico,  Vol.  ix,  plate  30). 

«  Cf.  Schreiber,  Alexand.  Toreulik,  p.  369,  and  the  example  in  Field  Museum,  No.  158  of  Tarbell's 
Catalogue  of  Bronzes. 

1  Pernice,  Jahrbuch  xv.  Am.  p.  189,  fig.  16. 

•  Pasqui,  op.  cil.  col.  432,  fig.  24. 

7  Cf.  Schreiber,  Alexand.  Toreulik.  p.  369. 

•  Roux,  op.  cil.  Vol.  vii,  plate  98  (  =  Mus.  Bor.  ix.  30). 

•  Pasqui,  op.  cil.  col.  432,  fig.  24. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  197 

itself  more  certainly  understood.  Pernice  thinks1  that  a  dipper  was 
suspended  from  the  thumb.  In  this  piece,  however,  the  thumb  is 
not  well  adapted  for  that  purpose,  being  slightly  rounded  on  top; 
in  others  it  is,  according  to  Schreiber,2  bent  sharply  inward.  It  seems 
more  likely,  inasmuch  as  the  vase  when  full  must  have  been  heavy, 
that  the  handle  is  intended  for  two  hands:  while  one  hand  held  the 
upright  part,  the  other  grasped  the  thumb  in  order  the  better  to  man- 
age the  flow  of  the  stream. 

Height  (extreme),  m.  0.327  (  =  12.87  m-)-  Height  of  vase  without  handle,  m. 
0.306  (  =  12.04  in.).  Diameter,  m.  0.317  (  =  12.47  in.);  of  bottom,  m.  0.168  (  =  6.61 
in.);  of  neck,  m.  0.134X0.145  (axis  of  handle);  of  top  (outside),  average,  m.  0.187 
(  =  7.36  in.);  of  orifice,  m.  0.122X0.135  (axis  of  handle).  Thickness  of  sides,  about 
m.  o.ooi  +.  Thickness  of  lip.  m.  0.004—0.005,  except  in  one  or  two  patches  (0.0025— 
0.004),  which  are  from  another  vase.  Height  of  handle,  m.  0.266  (  =  10.47  in.). 
Width  of  lower  attachment  (pear-shaped  plaque),  m.  0.076. 

Stem  of  handle  cracked  through  at  commencement  of  upper  part. 


SILVER  PITCHER.    24668.     [PLATES  CL-CLIII.] 

This  pitcher  or  jar  of  silver,  as  well  as  the  terra-cotta  bowls  (Nos. 
24669,  24670)  and  three  of  the  frescoes  (Nos.  24671,  24672,  24673),  - 
was  found  in  a  villa  not  far  away  from  Villa  I.3 

It  is  poorly  preserved.  The  mouth  is  put  together  from  four 
pieces,  one  of  which  seems  to  be  from  another  vase,  the  body  from 
five  or  more.  The  sides  are  corroded  through  in  at  least  three  places, 
and  all  the  fragments  are  oxidized  throughout.  The  vase  is  cast, 
the  handle  separately. 

The  body  of  the  vase,  which  is  nearly  globular  and  is  ornamented 
with  shallow  wavy  grooves4  running  up  and  down,  rests  upon  a  low 
base-ring.  The  bottom  is  flat,  but  there  is  in  the  center  a  slight  cir- 
cular depression,  which  is  itself  slightly  indented  in  the  middle.  There 
is  a  short  neck,  which  is  not  sharply  defined,  and  a  flaring  lip.  On 
the  inner  edge  of  the  lip  there  appears  to  be  an  encircling  bead-orna- 
ment; on  the  outer  edge  there  is  a  leaf -pattern,  and  between  the  two 
there  are  two  fine  raised  encircling  lines.  The  outer  under  side  of  the 
lip  is  also  ornamented,  but  here  there  are  slight  differences  in  the 
pieces  of  which  the  lip  is  at  present  composed.5 

1  Jahrbuch.  xv,  Am.  p.  189. 

1  Alexand.  Toreutik,  p.  369. 

1  This  group  of  objects  entered  the  Museum  in  October,  1903. 

«  As  in  the  silver  pitcher,  Schreiber,  Alexand.  Toreutik,  p.  333,  No.  49,  which  would  seem  to  be 
similar  in  shape.  Cf.  ibid.  pp.  453  f.,  n.  75.  and  the  inside  of  the  Ara  Pacis.  A  silver  rhyton  from  Tuch- 
el-Karamus,  Egypt,  belonging  to. the  Ptolemaic  period,  has  straight  horizontal  grooves.  Jahrb.  xxi, 
Anz.  p.  138,  fig.  8. 

4  /.  e.  i.  oblique  wavy  hatching.  3.  narrow  leaf-pattern  with  band  of  dots  beneath.  3.  uncertain. 
4.  (handle-piece)  covered  with  mending  material. 


198      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  handle  terminates  above  in  a  conventionalized  lotus,  of  which 
the  side-petals  have  the  form  of  volutes,  while  the  middle  petal  is  a 
thick  recurved  leaf  which  serves  as  a  thumb-rest.  The  upper  side 
of  the  volutes  is  ornamented  with  a  rosette  consisting  of  a  large  central 
7.  »•/'/,  2$  dot  surrounded  by  eight  smaller  dotsP  The  spaces  between  volutes 
and  lip  are  filled  in  by  means  of  a  bird's  head  with  long  beak.  At 
the  base  of  the  lotus  there  is  a  single  horizontal  row  of  beading,  which 
serves  to  separate  the  upper  part  of  the  handle  from  the  ornaments 
on  the  back. 

The  lower  attachment  of  the  handle  is  a  plaque  of  ovate  outline, 
ornamented  with  a  relief-mask  of  Medusa.  Her  features  are  coldly 
beautiful,  with  large  staring  eyes.  The  iris  is  indicated  by  an  engraved 
circle,  the  pupil  by  a  tiny  indentation.  From  the  crown  of  the  head 
rise  wings,  while  beneath  them  long  snaky  tresses  extend  to  both 
sides.  A  portion  of  heavy  serpent  body  is  conspicuous  above  the 
forehead  at  either  side,  an  exaggeration  of  an  effect  which  may  be 
seen  already  in  the  Medusa  Rondanini.2 

The  back  of  the  handle  appears  to  part  just  above  the  top  of  the 
plaque  to  form  the  spreading  side-petals  of  a  lotus  flower.  The  space 
between  the  petals  is  filled  with  an  elongated  heart-shaped  ornament, 
for  which  there  is  an  analogy  on  an  Attic  grave  stele  published  by 
Conze,3  and  on  the  early  Ionic  capital  from  Neandria.4 

The  principal  decoration  of  the  back  of  the  handle  is  in  the  upper 
part  just  beneath  the  transverse  band.  Here  there  is  a  narrow  ledge 
on  which  stands,  at  the  left,  a  round  altar  with  flame,5  and  near  by, 
at  the  right,  an  object  which  has  fluted  sides  and  conical  top,  and  is 
represented  as  about  a  third  again  as  high  as  the  altar.  Like  the 
altar,  it  has  a  molded  base  and  cornice.  The  oxidation  which  covers 
the  roof  is  perforated  so  that  the  latter  resembles  a  pyramid  of  balls. 
On  the  whole  the  object  looks  rather  like  a  building  as,  for  example, 
a  small  round  temple  or  shrine,  but  the  lack  of  door  or  window  is  a 
difficulty.  On  the  handle  of  a  pitcher  from  Bazzano  there  is  a  small 
shrine  with  similar  roof.6 

In  the  free  space  between  the  above  mentioned  ledge  and  the 
top  of  the  lower  attachment  there  is  a  thyrsus  with  a  large  ribbon 
IJIC  tied  to  the  shaft.® 

1  Cf.  silver  Centaur  vase  from  Pompeii,  Zahn,  Die  srhoensten  Ornamente,  etc..  Vol.  iii,  plate  28. 

1  Friederichs- Welters,  Cipsabgusse  antiker  Bildwerke,  No.  IS97-  Cf.  Roscher,  Lexikon  d.  Myth. 
I,  2,  p.  1723.  For  a  closer  analogy  cf.  Reinach.  Ant.  du  Bosph.  cimmerien,  plate  75,  No.  7  (terra-cotta 
mask). 

«  Die  aliischen  Crabreliefs,  Vol.  i.  No.  453,  plate  107. 

*  Perrot  and  Chipiez,  Histoire  de  I' art.  Vol.  vii,  p.  621,  fig.  275. 

*  Cf.  Schreiber,  Alexand.  Toreutik,  p.  321,  No.  13,  0). 

1  "Aedicula  mit  kuppelartigem  Dach,"  Schreiber,  Alexand.  Tortutik,  p.  356,  No.  105,  a;  cf.  p.  453. 

1  Cf.  the  thyrsus  on  a  silver  cup  from  Hildesheim,  Pernice  and  Winter,  Hildesheimer  Silberfund. 
plate  14,  No.  i,  and  on  the  handle  of  a  silver  casserole,  Schreiber,  Alexand.  Toreutik, .p.  315,  No. 
i ,  ft) .  A  thyrsus  represented  in  a  mosaic  of  the  Casa  del  Fauna,  Pompeii,  has  a  green  shaft  with  red  rib- 
bon, and  a  yellow  cone  with  green  leaves  (Nicolini,  Case  e  Monumenti,  Vol.  i). 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  199 

Height  (extreme),  m.  0.134  (=5.27  in.).  Height  of  vase  without  handle,  m. 
o.i 22  (  =  4.8  in.).  Diameter,  m.  0.129  (  — 5-°7  in-)-  Diameter  of  bottom,  m.  0.077 
(=3.03  in.).  Width  of  depression  on  under  side  of  bottom,  m.  0.019.  Diameter  of 
top  (outside),  m.  0.096  (  =  3.77  in.);  inside,  m.  0.08  (=3.14  in.).  Diameter  of  neck 
(outside),  m.  0.081  Xo.O77.  Thickness  of  walls,  uncertain,  perhaps  m.  0.002  —  0.003. 
Height  of  handle,  0.094  (=*3-7  m-)-  Lower  attachment,  m.  0.047  (height)  Xo.036 
(width). 


GLASS 

GLASS   PITCHER.     24582.     [PLATE  CLIV.] 

Small  pitcher  of  thin,  pale  yellow  glass,  found  in  Villa  I,  in  o,ne 
of  the  rooms  supposed  to  have  been  occupied  by  the  servants.1 

It  is  in  good  condition  except  for  a  hole2  obliquely  beneath  the 
handle.  One  side  of  the  mouth  is  bent  in. 

The  body,  which  is  nearly  globular  in  form,  rests  upon  a  plain 
slightly  concave  bottom  without  base-ring,  and,  on  the  upper  side, 
passes  easily  into  the  rather  long  round  neck,  which  is  straight  to 
near  the  top,  where  it  becomes  flaring.  The  mouth  is  trefoil  with 
molded  lip,  which  is  rolled  inward  at  the  upper  edge. 

The  handle  is  flat,  with  a  shallow  vertical  groove  on  the  inside 
and  a  deep  groove  on  the  outside.  It  was  made  separately,  and, 
when  in  a  soft  state,  bent  into  a  fold  at  the  top  to  form  a  thumb-rest. 
A  long  narrow  string  of  glass,  remaining  after  the  attachment  with 
the  top,  was  turned  back  over  the  thumb-rest,  which  is  thus,  in  part, 
of  four  thicknesses,  and  down  the  back  of  the  handle  near  to  its  lower 
end. 

Though  the  chief  center  of  the  glass  industry  throughout  antiquity 
was  Egypt,  from  which  country  it  was,  before  the  end  of  the  Roman 
republic,  imported  in  large  quantities  into  Italy,3  there  were  also 
factories  in  Italy,  particularly  in  Campania,  where  the  sands  between 
Cumae  and  Liternum  were  found  to  be  useful  in  the  production  of 
clear,  transparent  glass,4  and  by  the  first  century  A.  D.  it  had  come 
into  common  domestic  use  and  had  become  very  cheap.5  Of  such 
household  ware  this  pitcher  is  a  specimen. 

It  is  not  certain  just  what  purpose  such  pitchers  served,  but  at  the 
present  time  small  glass  pitchers  of  similar  shape  are  in  common  use 
in  Italy  as  containers  of  oil  or  vinegar  for  the  table. 

Height,  m.  0.135  ( — 5-31  in-)-  Height  of  body,  m.  0.125  ( =4-92  in-)-  Diameter, 
m.  0.089  ( =3.5  in.).  Diameter  of  bottom,  about  m.  0.037  ( =  1.45  in.).  Diameter  of 
neck  (smallest),  m.  0.0315  (  =  1.24  in.).  Height  of  handle,  m.  0.074  (—  2-9I  m-)- 
Width  of  handle  (least),  m.  o.on  (=0.43  in.).  Thickness  of  glass,  about  %  mm. 
below  break,  and  about  YT,  mm.  above  (estimated). 

1  Pasqui,  M.  A.  L.  vii,  col.  496:  "presso  1'angolo  a  sinistra  della  pariete  di  fondo  a  pie  del  letto 
posava  un  oinochoe  di  vetro  chiaro  con  corpo  a  bulla  e  collo  cilindrico"  (fig.  67). 

*  M.  0.037X0.018.     Piece  lost. 
»  Cf.  Cicero,  pro  Rab.  Post.  14. 

«  Pliny,  Hist.  Nat.  xxxvi.  26  (66).     Deville,  Hist,  de  I'art  de  la  verrerie  dans  I'antiquiti,  p.  18. 

•  Strabo,  xvi,  p.  758. 

200 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  201 

BLUE  GLASS  PITCHER.    24581.    [PLATE  CLV.] 

This  pitcher,  which  resembles  the  vases  of  the  form  called  'askos,' 
appears  to  have  been  found  in  Villa  I,  in  a  cupboard  which  was  in  a 
room  of  the  second  story  (Camera  d).1 

The  vase  is  in  fairly  good  condition,  but  there  is  a  small  hole2  in 
front,  and  the  iridescent  dark  blue  surface  has  flaked  off  in  many 
places,  leaving  a  whitish  surface.3  Vase  and  handle  are  cast  separate- 
ly. Owing  to  the  thinness  of  the  glass  the  vase  is  extremely  light. 

The  body,  which  vaguely  recalls  the  form  of  some  animal,  e.g. 
a  duck  or  a  snail,  is  somewhat  convex  on  the  under  side,  except  in  front, 
where  there  is  a  shallow  concavity,  and  is  high  and  rounded  on  top. 
The  wide  neck  which  is  almost  at  right  angles  to  the  back,  and  in 
front  forms  with  the  body  a  slender  S-shaped  curve,  tapers  slightly 
toward  the  top,  but  becomes  somewhat  flaring  near  the  trefoil  mouth. 
The  lip  is  rounded,  with  a  redundant  edge  of  glass  folded  down  on  the 
inside. 

The  handle,  though  made  of  a  single  piece  of  ductile  glass,  is  folded 
so  as  to  look  like  a  straight  strip  fastened  to  an  upright  at  either  end. 
The  long  string  of  glass  remaining  after  the  formation  of  the  front  of 
the  handle  is  brought  back  over  the  top  nearly  to  the  rear  end.  The 
portion  of  the  handle  which  serves  as  grip  has  a  wide  deep  groove 
on  the  upper  side  and  a  small  shallow  groove  underneath. 

A  glass  pitcher  of  similar  shape,  but  with  base,  fluted  sides,  round       , 
mouth  and  arched  handle,  was  found  at  Pompeii.®    This  form  is  sub- 
stantially the  same  as  that  of  a  black-figured  askos  from  Licodia  Eubea,6 
and  of  a  still  older  vase  in  black  monochrome  ware  from  Sybaris.6 
They  are  perhaps  derived  from  imitations  of  the  shape  of  a  duck.7 
Another  form  with  similar  body,  but  with  longer  neck  and  straight 
handle  set  at  a  higher  angle,  is  also  found  in  Pompeian  glass  ware@)      't*-c- 
This  form  with  long  neck  is  also  of  frequent  occurrence  in  bronzes 
from  Roman  sites,  particularly  in  pitchers  with  high  curved  handles, 

1  Pasqui.  M.  A.  L.  vii,  col.  516:  "quindi  nell'fondo  dell'  armadioera  posato  un  vasodi  vetro  tur- 
chino.  in  forma  di  askos  con  bocca  rotonda  e  con  ansa  ad  arco.  che  lo  attraversava  superiormente  in 
tutta  la  sua  luntjhezza."  Unless  a  different  vase  is  here  referred  to,  the  description  of  mouth  and 
handle  is  not  quite  accurate. 

*  M.  0.015X0.01^.  The  piece  is  missing.  The  adjoining  piece  (m.  0.011X0.014).  which  is  also 
broken  out,  is  now  inside  the  vase. 

1  It  is  perhaps  more  accurate  to  say  that  a  portion  of  surface  becomes  white  and  then  flakes  off. 
leaving  the  blue  underneath  exposed,  whereupon  the  same  process  is  repeated.  This  gradual  dis- 
integration is  constantly  going  on. 

4  Nicolini.  Case  e  Monumrnti.  I.  Casa  di  A/.  Lucrrzio,  p.  21,  plate  I.  No.  15. 

1  Roem.  Milleil.  xiii.  p.  331,  fig.  41. 

1  Mayer,  Jahrb.  xxii  (1907).  p.  207,  fig.  2. 

T  Mayer,  /.  c.  p.  209. 

•Nicolini,  op.  cit.  II.  Descritione  Gcnerale,  plate  43;  L'Arte  in  Pompti.  plate  26  (blue  glass). 


202       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

thumb-rest  and  ornamentation  of  Roman-Hellenistic  style.1  It  is 
probably  derived  from  the  wine-skin,2  which  it  strikingly  resembles  £> 
The  purpose  which  these  vases  served  is  not  certain,  but  that  the 
bronze  vases  above  mentioned  were  used  as  wine-pitchers  is  a  probable 
conjecture.4 

Height,  m.  0.113  (==4-44  m-)-  Length,  m.  0.146  (5.74  in.).  Width,  m.  0.105 
(=4.13  in.).  Mouth,  m.  0.043  (width) Xo.O475.  Length  of  handle  (extreme), 
m.  0.082;  over  top,  m.  0.069.  Width  of  handle  (least),  m.  0.0095.  Thickness  of 
glass  at  break,  less  than  %  mm.  (estimated). 

1  Examples  among  the  reproductions  in  Field  Museum,  Nos.  24044,  24048,  24054,  24056,  24060. 
Cf.  Roux,  op.  cit.  Vol.  vii,  plate  76. 

8  Pernice,  Jahrb.  xv,  Anz.  p.  185. 

'  Cf.  the  specimen  with  bronze  statuette  of  Silenus,  Roux,  op.  cit.  Vol.  vi,  plate  65. 

4  Pernice,  /.  c.  Cf.  also  Mayer  (I.  c.  p.  209),  who  thinks  that  the  early  askoi  were  attached  to  a  cord 
and  used  to  draw  water. 


TERRA-COTTA. 

BOWL  OF  TERRA  SIGILLATA.    24669.     [PLATES  CLVI-CLVIII.] 

This  bowl  of  red  terra-cotta  and  the  similar  bowl,  No.  24670,  were 
found  in  the  villa  from  which  came  the  silver  pitcher,  No.  24668,  and 
the  frescoes,  Nos.  24671-24673. 

Except  for  a  few  places  where  the  glaze  has  been  slightly  abraded, 
it  is  in  perfect  condition  and  as  though  new. 

The  bowl,  which  rests  on  a  small  low  base-ring,  is  shaped  something 
like  a  shallow  calyx  with  convex  bottom,  straight  sides  sloping  slightly 
outward  to  within  a  short  distance  of  the  top,  where  they  become 
sharply  convex. 

From  the  concentric  rings  of  the  bottom  to  the  triple  band  of 
hatching  at  the  top,  almost  the  entire  surface  is  covered  with  decoration 
arranged  in  bands  or  zones,  the  widest  of  which  covers  the  convexity 
of  the  bottom,  while  the  next  in  width  is  on  the  side.  The  lower  zone 
consists  of  eight  panels,  in  which  four  subjects  are  treated,  two  identical 
panels  placed  on  opposite  sides  of  the  vase  being  given  to  each.  They 
are  separated  by  straight  twisted  stalks,  which  terminate  in  rosettes. 
In  four  of  the  panels  there  are  medallions,  which  are  ornamented  with 
reliefs  representing  a  winged  Cupid.  There  are  two  types,  one  a  nude 
figure  moving  to  right,  though  the  head  is  in  full  face,  with  right  arm 
outstretched,  the  other  with  scarf  over  left  shoulder,  moving  to  left, 
and  holding  some  indistinct  object  in  his  outstretched  arm.  In  the 
corners  outside  the  medallions  there  is  a  U-shaped  stem  ending  in  a 
leaf.  Two  panels,  slightly  shorter  than  those  with  the  medallions, 
are  divided  by  a  horizontal  zigzag  line  terminating  in  rosettes  into 
two  unequal  portions.  In  the  narrower  upper  part  a  running  dog  and 
a  crouching  hare  face  a  tree  or  shrub.  The  center  of  the  lower  part 
is  occupied  by  three  rows  of  slightly  overlapping  arrow-points1  ar- 
ranged in  the  form  of  a  truncated  cone,  which  might  be  completed, 
if  the  shrub  of  the  upper  portion  should  be  added.  The  corners  which 
remain  at  the  ends  are  filled  with  parallel  zigzag  lines.  The  two  re- 
maining panels,  which  are  slightly  smaller  than  the  others,  are  occu- 
pied each  by  a  bunch  of  flower-stalks  fastened  together  at  the  center 
and  arranged  so  as  to  fill  four  triangles,  which  are  formed  by  diagonal 
zigzag  lines. 

1  So  D£chelette.  La  ctramigue  de  la  Gaule  romaine.  Vol.  i.  p.  70  ("pointes  de  fleches  imbriqu£es"). 
They  look  rather  like  leaves  or  small  shrubs. 

203 


204       FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

The  upper  of  the  two  principal  zones  is  decorated  with  a  conven- 
tionalized vegetable  spray,  from  either  side  of  which  spring  spirals 
terminating  within  in  a  four-leaved  rosette.  The  field  between  the 
spirals  contains  alternately  a  similar  rosette  and  a  branch,  which  also 
springs  from  the  main  stem  and  bears  at  the  end  two  knobs  repre- 
senting berries  or  fruit. 

A  little  to  the  right  of  the  center  of  the  portion  of  the  zone  shown  in  the  photo- 
graph (Plate  CLVII)  two  of  the  upper  scrolls  are  separated  by  a  sharp  angle  rather 
than  by  the  usual  broad  curve  above  the  lower  scroll.  This  somewhat  awkward 
arrangement  was  necessitated  by  the  fact  that  the  circumference  contained  the 
design  a  fraction  more  than  a  whole  number  of  times. 

Excepting  the  rosettes,  which  are  made  with  a  punch,  this  band,  as  is  evident 
from  slight  inequalities,  is  traced  by  hand.  Cf  De"chelette,  op.  cit.  Vol.  i,  p.  70. 

Between  these  zones  there  is  a  plain  convex  molding  with  a  row 
of  beading  at  either  side.  Above  them  there  is  a  narrow  angular 
molding,  which  is  ornamented  on  each  surface  with  oblique  hatching. 
The  wider  convex  part  of  the  bowl  which  follows  is  also  covered  with 
similar  hatching.  The  rounded  lip  is  undecorated. 

On  the  inside,  just  beneath  the  lip,  there  is  a  convex  surface  corre- 
sponding to  the  hatched  convex  band  on  the  outside.  In  the  center  of 
the  bottom  there  is  the  impression  of  a  stamp,  consisting  of  a  small  in- 
dented circle,  within  which  in  raised  letters  is  the  name  of  the  maker 
VITAL/IS.  The  stamp  is  encircled  by  a  broad  band  consisting  of 
minute  indentations,  which  appear  to  have  been  caused  by  roughness 
of  the  surface  on  which  the  bowl  was  supported  during  the  process  of 
firing.  Beyond  there  are  three  pairs  of  fine  encircling  grooves  im- 
perfectly executed. 

Though  the  name  of  the  potter  Vitalis  has  been  found  on  other 
vases  of  Italian  provenance,  it  has  been  shown  by  the  excavations 
and  researches  of  comparatively  recent  years  that  the  place  of  fabri- 
cation of  his  wares  was  in  the  south  of  France,  at  Graufenesque  (Dept. 
of  Aveyron),  the  ancient  Condatomagus.  From  the  extensive  re- 
mains of  potteries  which  have  been  found  there  it  is  evident  that 
the  industry  was  most  flourishing  in  the  first  century  A.  D.,  and  from 
the  considerable  number  of  Gallic  stamps  found  in  Italy  it  is  plain 
that  this  ware  was  then  competing  for  the  Italian  market. 

In  Italy  the  red-glaze  molded  vases  had  been  manufactured  for 
over  two  centuries,  particularly  at  Arretium  (the  modern  Arezzo) 
whence  the  name  'Arretine,'  which  has  been  applied  to  all  similar  fab- 
rics, though  now  it  is  usual  to  limit  its  use  to  the  vases  of  Arretium, 
while  the  ware  in  general  is  called  terra  sigillata. 

The  vases  of  Italian  fabric  differed  from  the  Gallo-Roman  chiefly 
in  that  the  color  was  a  less  deep  red  and  that  there  was  a  preference 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  205 

for  figures,  whereas  other  forms  of  decoration  were  preferred  north 
of  the  Alps.1 

Where  the  ware  was  first  made  has  not  yet  been  definitely  de- 
termined, but  the  chief  centers  of  production  before  the  establish- 
ment of  the  potteries  at  Arezzo  were  in  Asia  Minor  and  southern 
Russia.2 

Height,  m.  0.085  (=3-34  in-)-  Diameter,  m.  0.199  (  =  7.83  in.).  Thickness  at 
top,  m.  0.005  (==°-I9  in-)-  Height  of  base,  m.  0.005.  Diameter  of  base,  m.  0.06. 
Diameter  of  stamp,  m.  0.02. 

Form.  Substantially  the  same  with  Dragendorff,  Banner  Jahrb.  nos.  96/97, 
Plate  II,  No.  29. 

Inscription.  Copy  and  photograph  (Plate  CLVIII).  Length,  m.  0.019.  Height 
of  letters  (average),  about  m.  0.003.  1°  an  oblong  shallow  impression  the  ends  of 
which  are  formed  by  the  depressed  encircling  ring  of  the  stamp.  Height  of  impres- 
sion, m.  0.004.  The  letters  are  in  relief. 

Upper  part  of  space  between  first  and  second  letters,  not 

\  J5Wt*A.  I1C        impressed,. hence  only  lower  part  and  right  side  of  I  is  distinct. 
^*  *  />*«     ^        f  has  left  side  of  cross-bar  flattened.     A  has  no  cross-bar. 
Last  four  letters,  plainer  than  the  others.    There  is  a  tendency 
to  emphasize  the  ends  of  the  letters. 

C.  L  L.  XV.  57653,  XIII,  iii.  I.  10010,  2062.  De"chelette,  op.  cit.  Vol.  I,  pp.  57, 
no;  Dragendorff,  Banner  Jahrb.,  No.  99,  pp.  161  ff.;  Lehner,  Die  Einzelfunde  von 
Novaesium,  ibid.  nos.  111/112,  p.  347. 


BOWL  OF  TERRA  SIGILLATA.    24670.     [PLATES  CLIX-CLXI]. 

Bowl  of  red  terra-cotta  from  the  same  villa  as  the  preceding  vase, 
No.  24669. 

It  is  in  perfect  condition  and  as  though  new. 

This  bowl,  though  larger  than  the  other,  resembles  it  closely  in 
shape,  and  is  generally  similar  in  decoration.  It  has  a  larger  base- 
ring,  the  concentric  rings  on  the  bottom  are  somewhat  different,  and 
the  lower  of  the  two  wide  ornamental  zones  is  narrower. 

This  same  zone  is  divided  into  fourteen  panels,  of  which  seven 
are  wider  than  the  others,  arranged  alternately.  The  narrower  panels 
are  enclosed  between  two  upright  twisted  stalks,  at  the  lower  end  of 
which  there  is  a  rosette  from  which  a  volute  projects  into  the  adjoin- 
ing panel.  The  interior  is  divided  by  twisted  diagonal  stalks  into 
four  triangles,  which  are  occupied  by  the  ends  of  a  bundle  of  twisted 
stalks  held  together  at  the  center.  The  motive  is  like  that  seen  in 
the  corresponding  zone  of  the  other  bowl  (No.  24669),  but  is  simpler. 
The  decoration  of  the  wide  panels  consists  of  a  segment  of  a  circle 

1  Cf.  Dechelette,  op.  cit.  Vol.  i.  p.  66. 

2  Dragendorff.  Die  Reste  d.  terra  sigillata  Industrie  in  Griechenland,  Kleinasien.  Siidrussland  M. 
Aegypten,  Banner  Jahrb.  No.  101,  pp.  140  ff. 


2o6       FIELD  MUSEUM  or  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

opening  upward.  Its  lower  border  is  formed  of  a  row  of  arrow-heads, 
while  the  interior  is  filled  with  a  branch  which  begins  as  a  plain  stem 
in  the  upper  right  corner,  but  soon  parts  into  four  branches,  of  which 
the  outer  two  terminate  in  a  flower,  the  others  in  a  leaf  and  some  kind 
of  fruit.  From  the  fact  that  the  decoration  of  the  side  panels  is  not 
always  at  quite  the  same  distance  from  the  smaller  panels,  it  is  prob- 
able that  the  pattern  was  impressed  with  stamps  rather  than  with  a 
roller.  The  lower  edge  of  the  design  is  marked  by  a  narrow  plain 
band  imperfectly  carried  out.  On  the  upper  side  there  is  a  row  of 
beading,  which  serves  as  a  border. 

The  somewhat  narrower  zone  which  encircles  the  side  consists 
of  alternating  short  and  long  panels.  In  each  of  the  former  there 
is  a  many -leaved  rosette;  in  the  latter,  two  oblong  conventionalized 
lotus  flowers  placed  horizontally  end  to  end  with  a  ragged  palmette 
at  either  side  of  the  connecting  stem.1  The  zone  is  bordered  above 
and  below  by  single  rows  of  beading. 

Between  the  wide  ornamented  zones  there  is  a  narrow  plain  convex 
band.  Above  the  upper  zone  there  are  three  bands,  the  first  of  which 
is  narrow  and  flat,  the  second  broad  and  convex,  the  third,  which  is 
just  at  the  beginning  of  the  lip,  depressed  and  very  narrow.  All 
are  ornamented  with  slightly  oblique  fine  lines. 

In  the  interior  there  is,  near  the  top,  a  narrow  raised  ring  and, 
beneath  it,  a  convex  surface.  Otherwise  the  inside  is  plain  except 
for  the  stamp,  which  consists  of  a  rather  large  impressed  ring  occu- 
pying the  middle  of  the  bottom  and  containing,  about  in  the  center, 
an  inscription  in  very  small  letters.  The  first  few  letters  are  obscure, 
owing  to  the  fact  that  this  part  of  the  inscription  was  impressed  twice. 
It  seems  to  read  OF^VRII,  of(ficina)'EE.urii,  'Establishment  of 
— urius'. 

The  partial  illegibility  of  the  inscription  makes  the  attribution 
of  the  vase  uncertain.  However,  the  shape,  the  glaze  and  the  system 
of  decoration  render  extremely  probable  the  supposition  that  it  also 
is  an  example  of  the  ware  of  Graufenesque,2  although  the  final  letters 
— VRII  do  not  occur  in  the  lists  of  Dragendorff 3  and  Dechelette.4 

As  compared  with  the  vase  of  Vitalis  the  details  of  ornament  are 
somewhat  less  neatly  executed. 

Height,  m.  0.095  (  =  3-74  m-)-  Diameter,  m.  0.215  (  =  8.46  in.).  Thickness  at 
lip,  m.  0.004  (=O-15  in-)-  Height  of  base,  m.  0.008.  Diameter  of  base,  m.  0.075. 
Diameter  of  circle  of  stamp,  m.  0.035. 

1  Owing  to  lack  of  space  one  panel  contains  only  a  single  lotus,  but  has  two  double  palmettes  with 
a  rosette  between  them. 

2  Cf.  on  No.  24669. 

*  Banner  Jahrb.  nos.  96/97,  99. 
« Op.  cil. 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  207 

Form.  Substantially  the  same  with  Dragendorff,  Banner  Jahrb,  nos.  96/97, 
Plate  II,  No.  29. 

Inscription.  Copy  and  photographic  enlargement  (Plate  CLXI).  Length, 
m.  0.014.  Height  of  letters,  about  m.  0.002.  In  a  deep  oblong  impression,  the 
length  of  which  is  m.  0.0175,  the  width,  m.  0.003.  The  second  impression  of  the 
first  part  was  a  little  above  and  to  the  left  of  the  first  impression.  The  lower  part  of 
the  second  impression  is  deep,  but  the  surface  rises  gradually  toward  the  top  and 
toward  the  right.  The  letters  are  in  relief. 

The  first  letter  is  fairly  clear  in  the  second  impression,  and 
*^e  lower  part  is  also  visible  in  the  first  impression.  Next  at 
the  right  an  upright  hasta  I  is  clear.  The  side  bars  which  make 
it  an  F  are  but  faintly  visible.  The  last  four  letters  VRII  are 
plain.  Between  F  and  V  there  are  faint  or  doubtful  traces  of  one  or  two  letters. 
A  partial  line  close  to  the  left  hasta  of  V,  and  parallel  to  it,  seems  to  be  joined  near 
the  top  by  a  downward  stroke  to  left.  The  A(  =  A),  which  would  thus  be  formed,  is, 
however,  very  doubtful,  as  the  left  hasta,  when  magnified,  does  not  look  like  an 
intentional  line.  It  seems  more  likely  that  the  right  hasta  is  a  second  impression 
of  the  left  side  of  V.  Close  to  the  F,  on  the  right,  there  is  a  very  faint  S,  which  seems 
to  be  a  letter,  especially  as  there  is  a  scarcely  visible  parallel  to  it  at  its  right,  which 
would  be  the  first  impression.  The  inscription  would  then  read  (i)  OFSAVRII,  or, 
if  the  S  be  illusory,  (2)  OF  A  VRII  (cf.  ARII  C.  I.  L.  XIII,  iii.  i.  10009,  No.  41  az 
from  Graufenesqtte,  D£chelette,  op.  cit.  Vol.  I,  p.  82,  or  (3)  OFSVRII  (cf.  C.  I.  L. 
XIII,  iii.  i.  10010,  No.  3053,  OF.SVRII,  from  Tongern).  The  last  is  preferable,  but 
it  seems  somewhat  strange  that  the  S  should  be  crowded  so  far  to  the  left. 


STONE 

HAND-MILL.     31726,  1,  2.     [PLATE   CLXIL] 

Small  stone  mill  found  in  Villa  I.1 

The  mill  is  well  preserved  except  that  the  handle  is  broken  out 
and  the  cross-bar  of  the  upper  part  defective,  these  parts  being  of 
iron.  The  stone  is  a  gray  lava,  probably  from  Mount  Vesuvius.2 

In  the  construction  two  pieces  of  this  material,  forming  the  upper 
and  lower  mill-stones,  were  employed.  The  lower  stone,  which  is 
somewhat  wider  than  the  other,  has  on  its  upper  side  the  form  of  a 
low  cone,  in  the  top  of  which  there  is  a  shallow  depression3  where  the 
standard  which  supported  the  upper  stone  turned  to  and  fro.  The 
upper  stone,  which  has  a  round  hole  in  the  center,  is  concave  on  both 
sides.  The  lower  concavity,  which  extends  quite  to  the  edge,  fits 
over  the  conical  top  of  the  lower  stone,  and  forms  with  it  the  grind- 
ing surfaces;  the  upper  concavity  serves  as  a  hopper.  The  hole  in 
the  middle  was  crossed  by  an  iron  bar,  the  center  of  which,  now  miss- 
ing, must  have  held  the  shaft  that  played  in  the  above  mentioned 
depression.  The  manipulation  of  the  mill  was  facilitated  by  means 
of  a  handle  which  was  inserted  into  a  rectangular  hole  in  the  side 
of  the  upper  stone.  The  substances  ground  fell  out  over  the  sides 
of  the  lower  stone. 

This  is  the  ordinary  Roman  hand-mill,  examples  of  which  occur 
as  early  as  the  middle  of  the  second  century  B.C.4  It  is  an  improve- 
ment of  a  type  still  found  in  the  Levant,  consisting  of  two  flat  stones 
of  which  the  upper  has  a  hole  in  the  center,  and  is  provided  with  a 
handle  at  the  side.5 

Height,  m.  0.09  (lower  part)+o.i35  (upper  part)  =0.225  ( =  8.85  in.).  Diameter 
of  bottom,  about  m.  0.38  (  =  14.96  in.).  Diameter  of  top.  m.  0.34  (  =  13.38  in.). 
Diameter  of  hole  in  center  of  upper  stone,  m.  0.095.  Height  of  edges  of  same  hole, 
m.  0.025.  Iron  bar  which  crossed  it,  m.  0.027X0.015;  length  of  stub  remaining, 
m.  0.03.  Hole  for  handle,  m.  0.068X0.045. 

Lead  was  employed  to  hold  the  inserted  iron  parts  in  place. 

1  A  similar,  but  not  identical  mill  was  found  in  Room  X.  Pasqui,  /.  c.  col.  491,  col.  535,  No.  139. 
*  Cf.  Pasqui,  I.  c.  and  Mau,  Roern.  Mitteil.  IV  (1889),  p.  296. 
1  Diameter,  m.  0.06. 

4  Two  specimens  from  the  Roman  camp  before  Numantia,  Schulten,  Jahrb.  xxii.  Am.  p.  477. 

5  Bluemner,  Tech.  u.  Term.  Vol.  i,  p.  26,  quoting  Tournefort,  Voyage  du  Levant,  i,  p.  402. 


208 


JAN.,  1912.  ANTIQUITIES  FROM  BOSCOREALE.  209 

MILL.     31699,  1,  2.     [PLATE   CLXIL] 

Found  in  Villa  I,  in  the  excavations  of  1898.* 

It  is  well  preserved,  except  that  such  portions  as  were  of  wood  or 
iron  are  missing.  There  was  also  a  basis  of  masonry,  which  is  not  now 
with  the  mill.  The  stone  is  a  gray  lava. 

As  at  present  installed,  the  mill  consists  of  three  pieces,  two  of 
which  are  of  stone,  the  third  of  lead,  but  it  is  necessary  to  supply 
in  imagination  the  missing  parts,  in  order  that  the  manner  of  operation 
may  be  intelligible.  The  lower  stone,  called  from  its  resemblance 
to  the  conical  tops  of  the  goals  in  the  race-course,  the  meta,  was  sunk 
to  the  height  indicated  by  the  discoloration,  in  the  solid  basis  above 
mentioned.  The  top  has  the  form  of  a  cone  truncated  near  the  apex. 
Here  there  is  a  vertical  hole  with  rectangular  sides,  in  which  an  up- 
right post  was  formerly  inserted.  About  the  edges  of  the  opening, 
on  top  of  the  meta,  there  is  lead,  which  was  run  for  the  purpose  of 
holding  the  post  in  position.  The  upper  stone,  somewhat  like  an  hour- 
glass in  shape,  is  hollowed  out  within  in  a  manner  corresponding  to 
its  exterior  form.  The  interior  of  the  lower  half  forms  the  upper 
grinding  surface,  the  upper  part  served  as  a  hopper  —  whence  the  name 
catillus,  applied  to  the  entire  stone.  On  the  outside,  where  the  diam- 
eter is  smallest,  there  are/  on  opposite  sides,  rectangular  projections 
or  shoulders,  with  a  rectangular  hole  in  the  face,  and  a  round  hole 
extending  horizontally  through  both  sides.  The  former  hole  received 
the  stout  wooden  bars,  by  means  of  which  the  stone  was  turned, 
while  the  round  hole,  held  the  pin,  which  passed  through  and  fastened 
the  end  of  the  bar.  A  raised  band  about  the  center  suggests  that 
the  two  parts  of  the  catillus  may  at  some  time  have  been  separate  pieces. 

As  the  heavy  upper  stone  would  have  been  turned  with  difficulty, 
had  it  rested  directly  on  the  meta,  the  operation  was  effected  by  means 
of  a  frame,  which  held  it  suspended  from  a  vertical  pin  fastened  into 
the  top  of  the  upright  post  above  mentioned.  In  a  relief  in  the  Vati- 
can2 this  frame  is  represented  as  consisting  of  a  thick  rectangular 
wooden  bar,  extending  across  the  top  of  the  catillus,  and  attached  to 
the  handles  by  means  of  curved  pieces  of  similar  material  and  size 
extending  down  the  sides.3  In  the  mill  in  Field  Museum,  however, 
the  cross-bar  at  the  top  and  the  side-pieces  would  seem  to  have  been 
made  of  iron,  probably  a  single  piece,  as  the  sockets  in  the  edges  above 
the  shoulders  are  too  small  to  hold  a  wooden  frame  of  sufficient  strength. 

1  Notizie  degli  Scavi,  1899,  p.  16. 

1  Cited  by  Bluemner,  Tech.  u.  Term.  I.  p.  44  and  Mau-Kelsey,  Pompeii  (ad  ed.),  p.  390,  fig.  222. 

8  Cf.  restored  section,  Mau-Kelsey,  op.  cil.  p.  389,  fig.  221. 


210      FIELD  MUSEUM  OF  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

Of  course  the  iron  cross-bar  will  have  had  a  hole  in  the  center,  cor- 
responding to  the  pin  in  the  top  of  the  upright,  about  which  the  en- 
tire catillus  revolved. 

On  the  side  of  the  upper  stone,  beneath  one  of  the  shoulders,  are 
the  letters  PM.,  that  is  PMA,  perhaps  the  mark  of  the  maker. 

The  third  piece  of  the  mill,  the  large  leaden  ring  in  the  bottom 
of  the  case,  served  to  catch  the  flour  as  it  fell  from  between  the  stones, 
and  stood  originally  at  the  level  indicated  by  the  change  in  the  color 
of  the  lower  stone,  forming  the  top  of  the  basis  of  masonry,  in  which 
that  stone  was  imbedded. 

The  mills  of  this  form  are  very  plentiful  in  Pompeii,1  and  prob- 
ably represent  the  ordinary  Roman  type. 

The  motive  power  was  supplied  by  slaves  or  by  quadrupeds.  Mills 
in  which  the  shaft  of  the  catillus  was  connected  with  water  power 
are  also  known  to  have  been  in  use  among  the  Romans.2 

Height,  m.  1.07  (=42.12  in.).  Height  of  lower  stone,  about  m.  0.74  (  =  29.13 
in.).  Height  of  upper  stone,  m.  0.548  (  =  21.57  in-)-  Diameter  of  top  (outside), 
m.  0.49  (  =  19.29  in.  );  (inside),  m.  0.423  (  =  16.65  m-)-  Rectangular  hole  in  top  of 
lower  stone:  depth,  m.  0.133  (  =  5-25  in-);  sides,  m.  0.078X0.075.  Height  of  narrow 
part  of  interior  of  catillus,  m.  0.13;  diameter,  about  m.  0.095.  Rectangular  hole  in 
shoulder:  depth,  m.  o.n;  height,  m.  0.085;  width,  m.  0.075  (and  m.  o.io,  0.08,  0.073 
respectively).  Round  holes,  diameter,  about  m.  0.05.  Lead  ring:  width,  m.  0.155 
(  =  6.10  in.) — 0.27  (  =  10.62  in.);  thickness,  m.  0.003—0.005  (estimated). 

There  is  no  indication  that  the  interior  of  the  catillus  contained  a  feed-plate,  such 
as  is  mentioned  by  Bluemner,  Tech.  u.  Term.  I,  p.  27,  fig.  4. 

Inscription.  See  plate  CLXII.  Cf.  C.  I.  L.  X,  8057,  10.  Height  of  letters, 
m.  0.14.  Depth,  m.  0.005.  They  were  originally  painted  red,  of  which  color  abundant 
traces  remain. 

1  Mau-Kelsey,  op.  cit.  p.  388.  Cf.  the  illustration,  ibid.  p.  386,  fig.  218;  Molesworth,  Pompei,  p.  75. 
Vitruvius,  x,  5. 


IRON. 

These  implements  come  from  the  villa  numbered  IV  in  the  list 
given  above  on  page  154.  Of  their  wooden  handles  traces  remain  in 
several  instances.  The  iron  is  much  rusted  and  is  covered  with  accre- 
tions of  small  pumice-stones. 

Similar  implements  were  found  in  Villa  I.1  Still  others  exist  in  the 
Museum  of  Naples. 

THREE  HOES.     26150,  26151,  26152.     [PLATE  CLXIIL] 

The  shape  is  the  usual  Roman  one. 

Length  of  blade  "]%  in.     Breadth  at  top  T1A-T%  in. 

HOE.     26153.     [PLATE  CLXIIL] 

Length  of  blade  6^4  in.     Breadth  at  top  6  in. 

POINTED  HOE.     26154.     [PLATE  CLXIV.] 

Length  of  blade  5^  in.     Breadth  at  top  4  in. 

TWO  LARGE  HOES.     26155.     [PLATE  CLXV.] 

Rusted  together. 

Length  of  blade  of  each  ca.  n  in.     Breadth  at  top  ca.  14  in. 

MATTOCK.     26156.     [PLATE  CLXV.] 

One  end  of  the  head  is  shaped  like  an  adze,  the  other  like  a  hatchet. 
Outside  length  13  in. 

HATCHET.     26157.     [PLATE  CLXVL] 

The  edge  is  not  parallel  with  the  handle,  but  is  inclined  towards  it. 
Length  7^  in. 

PICK.     26158.     [PLATE  CLXVL] 
Outside  length  8  in. 

RAKE.     26159.     [PLATE  CLXVL] 

There  are  six  prongs. 
Breadth  I2>£  in. 


1  Monumenti  Antichi,  1897,  cols.  436-440. 

211 


212       FIELD  MUSEUM  or  NATURAL  HISTORY  —  ANTH.,  VOL.  VII. 

FORK.     26160.     [PLATE  CLXVI.] 

There  are  two  broad  flat  tines. 
Length  12  in. 

FORK.     26161.     [PLATE  CLXIV.] 

There  are  two  slender  round  tines. 
Length  17^  in. 

BILL.     26162.     [PLATE  CLXIV.] 

This  looks  like  a  pruning  instrument. 
Length  9  in. 

SPUD.     26163.     [PLATE  CLXIV.] 
Length  23^  in.     Breadth  at  top  4  in. 

SICKLE.     26164.     [PLATE  CLXV.] 

There  is  wood  adhering  to  the  inner  edge.     This  may  perhaps  in- 
dicate that  these  tools,  or  some  of  them,  were  kept  in  a  wooden  box. 
Diameter  of  blade  20  in. 


f 


&  ''- 

ml 

)«  t  " 
Ml 
3  j 

ri 

\» 
O 

O 

I 


FIELD  MUSEUM  OF  NATURAL  HISTORY.         ANTHROPOLOGY,  VOL.  VII,  PL.  CXIX. 


PLAN  OF  VILLA  RUSTICA  AT  BOSCOREALE. 

From  Mau-Kelsey,  Pompeii. 


FIELD  MUSEUM  OF  NATURAL  HISTORY.          ANTHROPOLOGY,  VOL.  VII,  PL.  CXX. 


24657 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL,  VII,  PL.  CXXI. 


24651 


24656 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXXIII. 


24655 


24658 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXX'V. 


24649 


24661 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL  [CXXV. 


24650 


24647 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL,  VII,  PL.  CXXVI. 


24654 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXXVIII, 


24672 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL,  VII,  PL.  CXXIX. 


24673 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL,  VII,  PL.  CXXX. 


MURAL  DECORATION  FROM  THE  Casa  della  seconda  Fontana  di  Musaico,  POMPEII. 
From  Zahn,  Die  schoensten  Ornamente,  etc.  II  95 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,    VOL.  VII,  PL.  CXXXI. 


24407 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXXXII. 


24404 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,   PL.  CXXXIII. 


24404 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXXXVI, 


244IO 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXXXVII. 


244IO 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXXXIX. 


24408 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXL. 


24406 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY.  VOL.  VII,  PL.  CXLI. 


24406 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII.  PL.  CXLII. 


24405 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXLIII. 


24405 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXLIV. 


24405 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXLV, 


24409 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXLVI. 


24409 


FIELD  MUSEUM  OF  NATURAL  HISTORY.  ANTHROPOLOGY,  VOL.  VII,  PL.  CXLVII. 


24409 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXLVIII. 


24403 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CXLIX. 


24403 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.,  VII,  PL.  CL. 


24668 


FIELD   MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLI. 


24668 


FIELD  MUSEUM  OF  NATURAL  HISTORY.     ANTHROPOLOGY,  VOL.  VII,  PL.  CLII. 


24668 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLIV. 


24582 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLVI. 


24669 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLVIII. 


24669 


FIELD   MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY.  VOL.  VII,  PL.  CLIX. 


24670 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLXI. 


24670 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLXIII. 


26150 
26152 


26151 
26153 


I 


FIELD   MUSEUM   OF  NATURAL  HISTORY 


ANTHROPOLOGY,  VOL.  VII,  PL.  CLXV. 


26155 
26156 
26164 


FIELD  MUSEUM  OF  NATURAL  HISTORY. 


ANTHROPOLOGY,  VOL,  VII,  PL.  CLXVI. 


* 


26l60 


26159 
26158 


26157 


